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Cody Fern photographed by Cedric Buchet

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dior.com – 020 7172 0172

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GQ Style. Issue 28

THE C

The Front

Kelvin Bueno

Everything you need to know this season, from the very latest trends to the accessories you'll covet – and all of SS19's fashion news, including the following six proﬁles

Inspired by Nineties Brit Rock, the musician aims to galvanise youth with ﬁre and fury Photography Dham Srifuengfung Styling Ben Schoﬁeld Text Tom Rasmussen

green nylon ripstop cargo pants by STONE ISLAND; necklace model’s own

Crystal Rasmussen

Photo James Giles Styling Gary Armstrong Sasanka Madusha wears white and green cotton Luka rayon twill shirt by GMBH;

108 121

Ady Suleiman

Queerness, class, sex… the drag queen’s memoir is a side-splitting roller coaster of a read Photography Dham Srifuengfung Styling Ben Schoﬁeld Text Tom Rasmussen

The singer-songwriter making male emotional honesty cool Photography Dham Srifuengfung Styling Ben Schoﬁeld Text Tom Rasmussen

129

Hero Fiennes Tiffin

Dean-Charles Chapman

A millennial heartthrob in the making – with a little help from his famous uncle Photography Dham Srifuengfung Styling Ben Schoﬁeld Text Tom Rasmussen

From Westeros to the wider world with a no-nonsense attitude Photography Dham Srifuengfung Styling Ben Schoﬁeld Text Tom Rasmussen

136

Finn Cole

Watches

Peaky Blinders fans get plenty of the actor with a breakout Hollywood role Photography Dham Srifuengfung Styling Ben Schoﬁeld Text Tom Rasmussen

Photography Ted Humble-Smith Styling Ben Schoﬁeld

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GQ Style. Issue 28

THE C 220

Cody Fern

Frappé D’Amour

In a blink of his kohl-smeared eyes, Fern has skyrocketed from being a punk outsider from the Outback to embodying the spawn of Satan on screen Text Maxwell Williams Photography Cedric Buchet Styling Luke Day

Photography Dexter Lander Styling Charles Jeffrey

162

Photography Ben Weller Styling Luke Day

Even with his Brat Pack looks and gift for extreme emotions, it took this actor a soul-searching decade to hit the big time Text Eve Barlow Photography Jackie Nickerson Styling Gary Armstrong

178

246

Like A Warm Wild Wind

234

Evan Peters

This Is Sri Lanka

Love Is A Contact Sport

Photography James Giles Styling Gary Armstrong

Photography Leon Mark Styling Ben Schoﬁeld

192

256

Harris Dickinson

Spike Jonze

From cruising for sex in the woods to co-starring with Angelina Jolie, Dickinson audaciously shape-shifts into any role Text Casper Salmon Photography Scott Trindle Styling Luke Day

From scrappy shorts to epoch-deﬁning music videos and Oscar-winning feature ﬁlms, Spike Jonze's work is alive with all the weirdness of the world Text Trey Taylor

204

New World Order Photography David Hughes Styling Elgar Johnson

212

The World’s Only Silent Rock’n’Roll Star A creative visionary who blurred the boundaries of dance, music and performance art, Lindsay Kemp's was a life of bodily pleasures and imaginative possibilities. With his death last year, it ended too soon Text Charlie Robin Jones

262

The Beautiful People Photography Sharif Hamza Styling Elgar Johnson

GQ STYLE IS A MEMBER OF THE INDEPENDENT PRESS STANDARDS ORGANISATION (WHICH REGULATES THE UK’S MAGAZINE AND NEWSPAPER INDUSTRY). WE ABIDE BY THE EDITORS’ CODE OF PRACTICE [WWW.IPSO.CO.UK/EDITORS-CODE-OF-PRACTICE] AND ARE COMMITTED TO UPHOLDING THE HIGHEST STANDARDS OF JOURNALISM. IF YOU THINK THAT WE HAVE NOT MET THOSE STANDARDS AND WANT TO MAKE A COMPLAINT PLEASE SEE OUR EDITORIAL COMPLAINTS POLICY ON THE CONTACT US PAGE OF OUR WEBSITE OR CONTACT US AT COMPLAINTS@CONDENAST.CO.UK OR BY POST TO COMPLAINTS, EDITORIAL BUSINESS DEPARTMENT, THE CONDÉ NAST PUBLICATIONS LTD, VOGUE HOUSE, HANOVER SQUARE, LONDON W1S 1JU. IF WE ARE UNABLE TO RESOLVE YOUR COMPLAINT, OR IF YOU WOULD LIKE MORE INFORMATION ABOUT IPSO OR THE EDITORS’ CODE, CONTACT IPSO ON 0300 123 2220 OR VISIT WWW.IPSO.CO.UK

Photo Jackie Nickerson Styling Gary Armstrong Evan Peters wears black double-breasted peak lapel wool jacket, ﬂower print silk shirt with KAWS bee jewel patches, black wool twill pleated trousers, black leather Derby shoes with white, black and neon rubber sole, all by DIOR

150

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GQ Style. Issue 28

THE EDITOR-IN-CHIEF

Dylan Jones EDITOR

CREATIVE DIRECTOR

Luke Day

Paul Solomons

SENIOR FASHION EDITOR

DEPUTY EDITOR & FASHION DIRECTOR

FASHION EDITOR

Gary Armstrong

Elgar Johnson

Ben Schoﬁeld

FEATURES EDITOR

MANAGING EDITOR

PRODUCTION EDITOR

Owen Myers

George Chesterton

Kamin Mohammadi

DESIGNER

PHOTOGRAPHIC DIRECTOR

SUB EDITOR

David Hicks

Robin Key

Cathy Levy

FASHION PRODUCTION

FASHION ASSISTANT

SPECIAL PROJECTS DIRECTOR

Victoria Mortimer at KO Collective

Lauren Perrin

Greg Krelenstein at Starworks Group

Contributors JESSIE LILY ADAMS / EVE BARLOW / CEDRIC BUCHET / SHELLEY DURKAN / JAMES GILES / ANTON GOTTLOB / SHARIF HAMZA DAVID HUGHES / TED HUMBLE-SMITH / CHARLES JEFFREY / CHARLES ROBIN JONES / DEXTER LANDER / LEON MARK / EDIE MULLEN / JACKIE NICKERSON KOSMAS PAVLOS / TOM RASMUSSEN / CASPAR SALMON / DHAM SRIFUENGFUNG / TREY TAYLOR / SCOTT TRINDLE / BEN WELLER / MAXWELL WILLIAMS

Shoot Producers STEPHANIE LAWLEY, HENRIETTA HITCHCOCK, AMELIA ELSWORTH SMITH, ANNIE HOLDEN, IMOGEN PEDLAR AT KO COLLECTIVE PUBLISHING DIRECTOR

Nick Sargent HEAD OF ADVERTISING AND EVENTS

ASSOCIATE PUBLISHER, FASHION

Vikki Theo

Madeleine Wilson ADVERTISING DEPARTMENT

ADVERTISEMENT AND DIGITAL HANNAH O’REILLY / ACCOUNT DIRECTOR SILVIA WEINDLING / ADVERTISING MANAGER TOM SPRATT HEAD OF REVENUE: DIGITAL AND BRAND PARTNERSHIPS RACHEL REIDY / BRAND PARTNERSHIPS DIRECTOR SAM O’SHAUGHNESSY / BRAND PARTNERSHIPS MANAGER JESSICA HOLDEN, JOSH MOORE / ART EDITOR JEFFREY LEE / PARTNERSHIPS DESIGNER DUARTE SOARES FASHION MARKET EDITOR SOPHIE CLARK

UK NORTHERN OFFICE KAREN ALLGOOD

EVENTS DIRECTOR MICHELLE RUSSELL

US OFFICE SHANNON TOLAR TCHKOTOUA

BRAND MANAGER JAKE PUMMINTR

PARIS OFFICE HELENA KAWALEC

ITALIAN OFFICE MIA SRL

KERYN HOWARTH

PA TO EDITOR-IN-CHIEF SOPHIE HAMBLETT / PA TO PUBLISHER KEELAN DUFFY / PA TO THE EDITOR EMILY TIGHE MARKETING DIRECTOR JEAN FAULKNER / ASSOCIATE RESEARCH DIRECTOR GARY READ / ASSOCIATE DIRECTOR, DIGITAL MARKETING SUSIE BROWN DIRECTOR OF PRESS AND PUBLICITY EMILY HALLIE / CIRCULATION DIRECTOR RICHARD KINGERLEE / PRODUCTION DIRECTOR SARAH JENSON COMMERCIAL PRODUCTION MANAGER XENIA DILNOT / COMMERCIAL SENIOR PRODUCTION CONTROLLER LOUISE LAWSON SENIOR PRODUCTION CONTROLLER EMILY BENTLEY / DIRECTOR OF EDITORIAL ADMINISTRATION AND RIGHTS HARRIET WILSON EDITORIAL BUSINESS MANAGER STEPHANIE CHRISOSTOMOU / SYNDICATION SYNDICATION@CONDENAST.CO.UK / HEAD OF FINANCE DAISY TAM

MANAGING DIRECTOR

CHAIRMAN

Albert Read

Nicholas Coleridge

CHAIRMAN AND CHIEF EXECUTIVE, CONDÉ NAST INTERNATIONAL

Jonathan Newhouse

PUBLISHED TWICE A YEAR BY THE CONDÉ NAST PUBLICATIONS LTD, VOGUE HOUSE, HANOVER SQUARE, LONDON W1S 1JU (020 7499 9080; FAX: 0870 242 9498; TELEX: 27338 VOLON). © 2019 THE CONDÉ NAST PUBLICATIONS LTD. DIRECTORS: NICHOLAS COLERIDGE, SHELAGH CROFTS, EDWARD ENNINFUL, JEAN FAULKNER, SIMON GRESHAM JONES, DYLAN JONES, ALBERT READ, SABINE VANDENBROUCKE. PRINTED IN THE UK BY WYNDEHAM GROUP. COLOUR ORIGINATION BY WILLIAMSLEATAG. DISTRIBUTED BY FRONTLINE, MIDGATE HOUSE, PETERBOROUGH, CAMBRIDGESHIRE, PE1 1TN UNITED KINGDOM (TEL: 01733 555 161). ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT WRITTEN PERMISSION IS STRICTLY PROHIBITED. ALL PRICES CORRECT AT TIME OF GOING TO PRESS, BUT SUBJECT TO CHANGE

Photographer Jackie Nickerson

CHIEF OPERATING OFFICER SABINE VANDENBROUCKE / DIGITAL DIRECTOR SIMON GRESHAM JONES / HR DIRECTOR HAZEL MCINTYRE

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THE C

GQ Style. Issue 28

What did you work on for the issue?

CEDRIC BUCHET Photographer

We shot Cody Fern on the streets of LA under the rain... It was amazing working with Cody, he’s so spontaneous and generous.

DEXTER LANDER MAX Writer

For this issue, I drank a margarita while interviewing Cody Fern in a hotel lobby. He drank tea. Journalists don’t mind drinking alone.

Photographer Me and Charles Jeffrey created a Buster Keatoninspired romantic romp through a snowy Paris. A menage á trois of love, rivalry and all out buffoonery!

ON Photographer

I shot the actor Evan Peters in Los Angeles along with senior fashion editor Gary Armstrong for a Dior special, featuring the ﬁrst collection for Dior by Kim Jones.

EVE BARLOW Writer I met Evan Peters at the classic Hollywood haunt Little Dom’s for an afternoon coffee and a deep and meaningful...

Photographer

I shot a story with fashion director Elgar Johnson, with a diverse cast of British faces that make me feel nostalgic towards my teenage upbringing in London. Each one of these boys looks like a mate of mine from secondary school.

DAVID HICK Designer I worked on the design and art direction of this exceedingly Springy edition of British GQ Style. As ever, thanks to Creative Director Paul Solomons for trusting me with GQ Style’s crayons and colouring books.

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GQ Style. Issue 28

THE C What did you work on for the issue?

Condé Nast International Chairman and Chief Executive Jonathan Newhouse President Wolfgang Blau CONDÉ NAST USA PRESIDENT AND CHIEF EXECUTIVE OFFICER Robert A. Sauerberg, Jr. ARTISTIC DIRECTOR Anna Wintour

Vogue, Vanity Fair, Glamour, Brides, Self, GQ, GQ Style, The New Yorker, Condé Nast Traveler, Allure, AD, Bon Appétit, Epicurious, Wired, W, Golf Digest, Teen Vogue, Ars Technica, Pitchfork, Backchannel, Them

JAM Photographer I shot in Sri Lanka with senior fashion editor Gary Armstrong. We travelled up and down the south coast photographing local surfers on the beach and in amazing colonial locations.

THE CONDÉ NAST INTERNATIONAL GROUP OF BRANDS INCLUDES:

PUBLISHED UNDER LICENCE OR COPYRIGHT COOPERATION:

UK Vogue, House & Garden, Brides, Tatler, The World Of Interiors, GQ, Vanity Fair, Condé Nast Traveller, Glamour, Condé Nast Johansens, GQ Style, Love, Wired, Condé Nast College Of Fashion & Design, Ars Technica

AUSTRALIA Vogue, Vogue Living, GQ

FRANCE Vogue, Vogue Hommes, AD, Glamour, Vogue Collections, GQ, AD Collector, Vanity Fair ITALY Vogue, Glamour, AD, Condé Nast Traveller, GQ, Vanity Fair, Wired, La Cucina Italiana, Lisa GERMANY Vogue, GQ, AD, Glamour, GQ Style, Wired

J Set Designer I worked with fashion editor Ben Schoﬁeld on a tailoring story, using vintage gym equipment such as a ballet bar, medicine balls, tug-of-war rope and a set of old gymnastic rings. I also sourced a good selection of mirrors of different shapes and sizes for Tom Rasmussen’s artist proﬁles, styled for each individual.

SPAIN Vogue, GQ, Vogue Novias, Vogue Niños, Condé Nast Traveler, Vogue Colecciones, Vogue Belleza, Glamour, AD, Vanity Fair JAPAN Vogue, GQ, Vogue Girl, Wired, Vogue Wedding TAIWAN Vogue, GQ, Interculture MEXICO AND LATIN AMERICA Vogue Mexico and Latin America, Glamour Mexico, AD Mexico, GQ Mexico and Latin America, INDIA Vogue, GQ, Condé Nast Traveller, AD PUBLISHED UNDER JOINT VENTURE: BRAZIL Vogue, Casa Vogue, GQ, Glamour RUSSIA Vogue, GQ, AD, Glamour, GQ Style, Tatler, Glamour Style Book PUBLISHED UNDER JOINT VENTURE: BRAZIL Vogue, Casa Vogue, GQ, Glamour

BULGARIA Glamour CHINA Vogue, AD, Condé Nast Traveler, GQ, GQ Style, Condé Nast Center of Fashion & Design, Vogue Me, Vogue Film CZECH REPUBLIC AND SLOVAKIA Vogue, La Cucina Italiana GERMANY GQ Bar Berlin HUNGARY Glamour ICELAND Glamour KOREA Vogue, GQ, Allure, W MIDDLE EAST Vogue, Condé Nast Traveller, AD, GQ, Vogue Café Riyadh POLAND Vogue, Glamour PORTUGAL Vogue, GQ, Vogue Café Porto ROMANIA Glamour RUSSIA Vogue Café Moscow, Tatler Club Moscow SOUTH AFRICA House & Garden, GQ, Glamour, House & Garden Gourmet, GQ Style, Glamour Hair THE NETHERLANDS Vogue, Glamour, Vogue The Book, Vogue Man, Vogue Living THAILAND Vogue, GQ TURKEY Vogue, GQ UKRAINE Vogue, Vogue Café Kiev

RUSSIA Vogue, GQ, AD, Glamour, GQ Style, Tatler, Glamour Style Book

Photographer

I took portraits of six rising personalities (and their reﬂections) and photographed a trend story which explores different parts of the body and how to accentuate each one! 36

The paper used for this publication is based on renewable wood ﬁbre. The wood these ﬁbres are derived from is sourced from sustainably managed forests and controlled sources. The producing mills are EMAS registered and operate according to highest environmental and health and safety standards. This magazine is fully recyclable – please log on to www.recyclenow.com for your local recycling options for paper and board.

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RADO.COM

MASTER OF MATERIALS

RADO TRUE OPEN HEART PLASMA HIGH-TECH CERAMIC. METALLIC LOOK. MODERN ALCHEMY.

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GQ Style. Issue 28

LETTER

FOR ME, IT ALL COMES BACK TO 1991. DESPITE LIVING IN RURAL HAMPSHIRE, GIANNI VERSACE CAMPAIGNS WERE MY WALLPAPER, VOGUE WAS MY SOUNDTRACK, AND IN BED WITH MADONNA INTRODUCED ME TO A DAZZLING WORLD OF DANCING, SHOWMANSHIP AND GLAMOUR. Back then, I didn’t know what a fashion editor was, let alone that I could be one. But my two-mile walk to school every morning led me to the newsagent, where I bought my ﬁrst Vogue magazine. (August 1991, Linda Evangelista in gold Michael Kors. Major.) Soon after I realised that my dream of editing a magazine was something I could aspire to for real. That era will always have a cherished place in my heart. It seems like I’m not the only one. The late Eighties and early Nineties still exert a ﬁrm grip on the cultural imagination. Last year, I revisited my formative years in the form of my after-hours Gogglebox alter ego, guzzling down two of the best TV shows of 2018, Pose and The Assassination of Gianni Versace, both created by the visionary Ryan Murphy. When I saw Evan Peters (page 234) and Cody Fern’s mesmerisingly nuanced – and downright devilish – portrayals of masculinity in these shows, I knew that they had to be our SS19 cover stars (page 150). Along with Trust and Beach Rats alumnus Harris Dickinson (page 192), this new breed of actors is the positive face of Hollywood’s future, unafraid to embrace the complexity of what it is to be a young man in their roles, much like my Nineties heroes River Phoenix and Keanu Reeves. In the rest of the issue, too, we celebrate rule-breakers and visionaries who up-ended the status quo. One of my favourite features is an unprecedented look into the life and work of Lindsay Kemp (The World’s Only Silent Rock’n’Roll Star, page 212), the performance art visionary who taught Bowie and Kate Bush to move. Meanwhile, Hollywood iconoclast Spike Jonze (The Man Who Punked Pop Culture, page 256) gets candid about his decades-long work to punk up the mainstream, and we travel from Sri Lanka to Paris to Hertfordshire to bring you the best of this season’s fashions. As we were sending this issue to print, the fashion world was rocked by the sad news of Karl Lagerfeld’s death. Karl was the undisputed king of fashion - he was called The Kaiser for a reason. He was a true legend; an icon, whose mastery of craft and grand visions have always inspired me to dream big. What a life! What a force of nature. This year, I’m all about empowerment and transformation; I think I learned some of this from my icons Madonna and Gianni, and indeed Karl, back in 1991. I hope our work will inspire you too. Enjoy the issue. Thank you, next.

LUKE DAY EDITOR 42

Cody Fern Photography Cedric Buchet Styling Luke Day. Blue Hawaiian print shirt by COACH 1941; black choker and oxidised pendant, both by SAINT LAURENT BY ANTHONY VACCARELLO

Evan Peters Photography Jackie Nickerson Styling Gary Armstrong. Black double-breasted wool jacket and flower print silk shirt, both by DIOR

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Photography Anton Gottlob Styling Ben Schoﬁeld

Stylist’s assistant Lauren Perrin

Spring is screeching into view, and with it comes a fresh crop of designers, artists and must-buys that you need in your life. Rejuvenate your style by letting your chest breathe and baring your belly (or both if you’re brave). Start with box-fresh boxers and build from there.

White Sea Island cotton boxer shorts, £79, by CDLP

28 47

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News

Men At Work Banish all thoughts of builders’ bums – workwear doesn’t have to be sloppy. Put a slim-ﬁt spin on utility staples with 66°North’s Tangi pants, which come in cobalt blue or black nylon, and are positively peppered with pockets. Plus, the reﬂective strips mean that your mates will never lose you in the bar. Shine on.

Text Owen Myers

All the detail Streetwear has rarely felt as intricate as newcomer Paria Farzaneh’s thoughtful ﬂip on the classics. The London-via-Yorkshire designer draws on her rich Iranian heritage in her work, imagining rain jackets trimmed with traditional patterns and ornately printed baggy trousers. Snap it up at Browns this spring, as part of its partnership with the British Fashion Council for NewGen 2019. You might even run into one of her famous fans — Frank Ocean’s already been pictured wearing Farzaneh’s designs. 48

Photographer (main image) Jessie Lily Adams Stylist Gary Armstrong Hair stylist Eliot McQueen at JAQ Management using Bumble and Bumble Make-up Anna Payne using Tom Ford for Men Model Jesse at Casting Real Photo assistant Tom North, Stylist’s assistant Lauren Perrin Production KO Productions ko-collective.co.uk

tone Island knows that ever-changing spring temperatures can make for tricky dressing. Unfazed, the iconic Italian brand is embracing that ﬂux with its cunning new jacket/vest, featuring sleeves that zip off to leave a smart gilet – and the clever heat-reactive fabric changes colour along with the temperature from frosty white to balmy royal blue and ﬁery red. It’ll keep your Instagram Stories lit till autumn.

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News

Photography Toby Weston

W19 sees the release of Fila Fjeld, the latest in a line of experimental projects with sportswear powerhouse Fila. After being approached by Fila to create a new line, Elgar Johnson, deputy editor and fashion director of British GQ Style, brought designer Astrid Andersen on board on the project, with both serving as creative directors. The idea was to show an example of where the streetwear market is moving, using both their personal inﬂuences. ‘The world of streetwear is evolving at such a fast pace,’ says Elgar. ‘With this project Fila provided a platform for us to collect our thoughts and suggestions as to what happens next. It’s an exciting time as there’s no right or wrong option at this point.’ The Fila Fjeld collection will be available in August

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Study

the hockneyesque print of This Hermès carry-all makes a bigger splash

Prop stylist Laura Little Photo assistant Tom North Stylist’s assistant Lauren Perrin Production KO Productions ko-collective.co.uk

Etrivière shoulder bag in dynamo tech knit and hunter cowhide, £1,800, by HERMÈS

Photography Jessie Lily Adams Styling Gary Armstrong 51

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Proﬁle

Photography Dham Srifuengfung Styling Ben Schoﬁeld Text Tom Rasmussen Hair stylist Jose Quijano at The Wall Group using Davines Make-up Mona Leanne at The Wall Group using NARS Stylist’s assistant Lauren Perrin Hair stylist’s assistant Chloe Frieda Make-up assistant Quelle Bester Set designer Jacki Castelli at Lalaland Artists Casting Starworks Group Production KO Productions ko-collective.co.uk

Red paper coat with flower embroidery by SIMONE ROCHA; crystal over-the-knee boots by PHILIPP PLEIN

Queerness, class, sex… the drag queen’s memoir is a side-splitting roller-coaster read cclaimed erotic author and Nobel Literature Prize winner (in the making) Crystal Rasmussen is the alter ego of journalist Tom Rasmussen. ‘Wealthy’ is how she’d describe herself in one word. At odds with Tom, who actually grew up far from London in Lancaster, Crystal has become the space where everything Tom dreamed of as a child is now a glorious reality. ‘Like these Philipp Plein boots, for example,’ Crystal drawls as she sips from a frothing ﬂute of Cristal Champagne, a business empire of which she claims to own 51 per cent. ‘This book is actually my most personal work yet,’ the ageing ingénue reveals about her newest publishing sensation, 52

Diary of a Drag Queen. ‘It’s really about queerness, about class, about finding your way as a young, scared person by losing it,’ she says, wiping a tear from her eye, before brightening and adding, ‘It’s also about sex: all kinds of stunning, life-affirming sex.’ It’s really quite an honour to catch the queen, even if it is for a meagre ﬁve minutes, before she saunters out of the studio, squishing out the butt of her pink Sobranie ciggy as she trails away to catch a ﬂight to Jakarta, via New York, where she’s off to marry yet another billionaire. Brava Crystal, brava! ‘Diary of a Drag Queen’, published by Ebury Press, is out now

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SIDELINE PLAY WITH THE LINES

Lacoste Men’s Sideline Available at John Lewis & Partners

TIGEROFSWEDEN.COM

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S t J a m e s ' s 2 1 0 P i c c a d i l ly, L o n d o n

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Sethu wears black neoprene wetsuit, rubber scuba harness, red cotton fisherman’s hat and black leather boots with rubber strap, all by CALVIN KLEIN 205W39NYC

Groomer Mike O’Gorman using Wella Professionals Models Sethu N at Storm Stylist’s assistant Lauren Perrin Casting director Paul Isaac Production KO Productions ko-collective.co.uk

n Shimmy into something skin-tight this spring. A neoprene wetsuit is a snappy choice for both land and sea, especially when paired with shark-fin detail boots. The fun part is finding someone to help you slip out of it.

Photography Dham Srifuengfung Styling Ben Schoﬁeld 55

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buckle u

Nothing compares to a nifty pair of kicks at the beach – just don’t drop your 99 Flake White and beige leather high-top ‘Nothing’ trainers, £185, by CAMPER

Photography Anton Gottlob Styling Ben Schoﬁeld

Stylist’s assistant Lauren Perrin

Study

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ORLEBARBROWN.COM

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448E1 PRINTED HEAT REACTIVE - THERMOSENSITIVE FABRIC JACKET/VEST IN COTTON RIPSTOP PRINTED WITH A PERMANENT COLOUR AND THREE COLOURS THAT REACT WITH TEMPERATURE CHANGES. THE PRINTED PATTERN CONSIDERABLY MUTES AND MORPHS WHEN EXPOSED TO HEAT. STAND-UP COLLAR WITH VELCRO BAND. DETACHABLE SLEEVES, ATTACHED TO THE GARMENT WITH LONG ZIPS ON THE FRONT AND SHOULDERS, TO WEAR THE PIECE AS A VEST. HIDDEN SNAP DIAGONAL POCKETS. RIBBED INSERTS AT THE ELBOWS AND FOREARMS. RIBBED CUFFS. DRAWSTRING ON BOTTOM HEM. DOUBLE SLIDER ZIP FASTENING. WWW.STONEISLAND.COM

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11117 NYLON METAL RIPSTOP OVER SHIRT IN A TRILOBATE NYLON YARN WOVEN WITH A MICRO RIPSTOP STRUCTURE TAKING A DISTINCTIVE METALLIC AND TONIC SHEEN WHEN GARMENT DYE. THE FINISHED PIECE UNDERGOES AN ELABORATE DOUBLE DYE PROCEDURE PROVIDING DIFFERENT TONES, INTENSITIES AND COLOURS TO THE FIBRES AND TEXTILE ACCESSORIES OF THE GARMENT. BELLOWS POCKETS IN PLAIN NYLON METAL ON THE CHEST, WITH FLAP AND VELCRO. SNAP AT CUFFS. DOUBLE SLIDER ZIP FASTENING. FLAGSHIP STORE: 79 BREWER STREET_LONDON_W1F 9ZN

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Handbook

THE POOL Sun’s out, guns out and Pina Coladas are on order

Green banana sling bag, £20, by LEVI’S

Navy bum bag, £40, by 66°NORTH

Red leather pouch, £705, by BILLIONAIRE

No Dice Sunscreen, £28, by TRIUMPH & DISASTER from JOHN BELL & CROYDON

Formentera Salt Spray, £18, by OLIVER J WOODS from JOHN BELL & CROYDON

The Super Hyaluronic Molecule Supplement, £43, by FOUNTAIN from JOHN BELL & CROYDON

Green slides, £25, by LACOSTE

Navy slides, £25, by ORIGINAL PENGUIN

Red slides, £25, by LACOSTE

Turquoise cotton towel, £60, by TOMMY HILFIGER

Navy towel, £65, by EMPORIO ARMANI EA7

Red towel, £36, by LEVI’S

Photographer Jody Todd

Edited by Sophie Clark

#eyesonthecity

cpcompany.co.uk 34 Marshall St, London W1F 7EU

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LONDON STORE, 278 BROMPTON ROAD — MSGM.IT

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Study

She sells sea shells… he stunts in sneakers

Photography Anton Gottlob Styling Ben Schoﬁeld 68

Stylist’s assistant Lauren Perrin

Printed canvas high-top trainers, £445, by SALVATORE FERRAGAMO

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Photographer (main image) Jessie Lily Adams Stylist Gary Armstrong Hair stylist Eliot McQueen at JAQ Management using Bumble and Bumble Make-up Anna Payne using Tom Ford for Men Model Jesse at Casting Real Photo assistant Tom North Stylist’s assistant Lauren Perrin Production KO Production ko-collective.co.uk

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We Have Lift Off! Fasten your seatbelts. Levi’s is taking us back in time to the late Fifties Space Race. Boxy zip-ups, high-waisted jeans and knitted polos faithfully recreate the period’s silhouette, with many styles taken from Levi’s’ own cavernous archives. Other pieces are directly inspired by a generation of teens in Alabama’s ‘Rocket City’, who cobbled together their own amateur spacecraft, in a nod to the enterprising spirit of these stargazing

BUCKET

enthusiasts. Just add a slick of Brylcreem for the full retro look.

Text Owen Myers

ust ask former GQ Style cover star J Hus: bucket hats are back, baby. And they’re bolder than ever. This season, Fendi teamed up with punk-inspired artist Nico Vascellari for devilishly seductive prints, and the bucket hat, branded with the house’s iconic FF logo, was the SS19 collection’s insouciant – and affordable – crowning glory. Be bold and top them off with the brand’s polygon-shaped shades: there’s never been a better time to see the world through new eyes.

Yee-haw! Shayne Oliver’s collaboration with Colmar is ﬁt for the rodeo or the rave. The Hood By Air mastermind and the Italian brand’s new collection is full of punkish patches, gender-neutral sweaters and sandstorm-tough fabrics. But it wouldn’t be Shayne Oliver – a longtime ﬁxture of underground nightlife – without a few fetish-inspired twists. Take these white trousers, which unzip at the crotch to reveal a saucy second layer of fabric underneath. Team with a ten-gallon hat and ride out the night as if it’s your last. 69

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y l l e b d a u q s

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Trends

Groomer Mike O’Gorman using Wella Professionals Model Xu at IMG Stylist’s assistant Lauren Perrin Casting director Paul Isaac Production KO Productions ko-collective.co.uk

Photography Dham Srifuengfung Styling Ben Schoﬁeld

Nothing’s sexier at the club than a flash of toned tum. Expose it this season in short tops and high-waisted cargo pants, and get ready to rave.

Xu wears patterned cotton jersey and pastel pink cotton trousers, both by HUGO

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B I LLI ONAI RE.COM

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available at

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Photography Dham Srifuengfung Styling Ben Schoﬁeld Text Tom Rasmussen

Proﬁle

Hair stylist Jose Quijano at The Wall Group using Davines Make-up Mona Leanne at The Wall Group using NARS Stylist’s assistant Lauren Perrin Hair stylist’s assistant Chloe Frieda Make-up assistant Quelle Bester Set designer Jacki Castelli at Lalaland Artists Casting Starworks Group Production KO Productions ko-collective.co.uk

Green wool blazer by GIEVES AND HAWKES; blue mouline wool polo shirt and white cotton T-shirt, both by PRADA

A millennial heartthrob in the making – with a little help from his famous uncle wenty-one-year-old Hero is the youngest in an acting dynasty led by his uncle, Ralph Fiennes. Currently best known for playing young Voldemort in the sixth Harry Potter movie, Hero is about to grow up. He’s grown out his close-shaved hair and has just wrapped as the romantic lead in a ﬁlm due for release later this year – dark, sexy teen romp called After, which looks set to establish him as the new millennial heartthrob to beat (watch out Noah Centineo). ‘It’s that typical old love story but done in a new refreshing, relevant way,’ he says. ‘We don’t shy away from the arguments or the sex element – which is an important factor, especially with a ﬁrst love.’ His philosophy on stardom at a young age is steeped in the awareness of his politically engaged peers. ‘I think as white men it’s our responsibility to use the fortunate position we’re in to shed light on all those less fortunate,’ he says, ‘because, in this setting that I’m in, we’re very privileged.’ ‘After’ is out later this year 77

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Handbook

The in-flight pro All you need to make a quick ‘I woke up like this’ airport exit

Black leather wash bag, £730, by BILLIONAIRE

Black top handle wash bag, £160, by EMPORIO ARMANI

Wash bag with patches, £660, by LOUIS VUITTON

Yellow crew neck sweater, £70, by BLUEMINT

Grey crew neck sweater, £55, by FARAH

Red crew neck sweater, £40, by LUKE

Instant Magic Facial Dry Sheet Mask, £18, by CHARLOTTE TILBURY from SELFRIDGES

Advanced Night Repair Synchronized Recovery Complex, £55, by ESTÉE LAUDER

Hydrating Face Cream, £20, by DOERS OF LONDON

‘Gancini’ tote bag, £995, by SALVATORE FERRAGAMO

Khaki and black leather bag, £6,825, by BOTTEGA VENETA

Black shopper bag with FF logo, £980, by FENDI

Photographer Jody Todd

Edited by Sophie Clark

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W W W. F A R A H . C O . U K

L O N D O N

B R I G H T O N

L E E D S

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brownsfashion.com

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brownsfashion.com

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Stylist’s assistant Lauren Perrin

Study

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Photography Anton Gottlob Styling Ben Schoﬁeld 85

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Photography Dham Srifuengfung Styling Ben Schoﬁeld

Groomer Mike O’Gorman using Wella Professionals Model Kit Clarke at Established Stylist’s assistant Lauren Perrin Casting director Paul Isaac Production KO Productions ko-collective.co.uk

Kit wears sand silk shirt, sand trousers, antique silver choker, black leather belt and black leather bag, all by GIVENCHY

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CARRERA 1020/S

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#DRIVEYOURSTORY MATTHEW NOSZKA - MODEL/ACTOR DISCOVER MORE AT CARRERAWORLD.COM

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Photography Dham Srifuengfung Styling Ben Schoﬁeld Text Tom Rasmussen

Proﬁle

Khaki suede jacket by SAND; white cotton T-shirt by RON DORFF

‘Peaky Blinders’ fans get plenty of the actor with a breakout Hollywood role

e’s about to be as famous as Facebook. This year, we’ll not only see 23-year old Finn Cole return as Michael Gray on BBC’s addictive drama Peaky Blinders, but he’ll also make his movie star debut in the Thirties-set thriller Dreamland as a bounty hunter in search of Margot Robbie (nice work if you can get it). ‘I’m a method actor in terms of the research,’ he says. ‘I look into why people do things, draw parallels to my own personality and make a character that’s halfway between myself and them.’ This engenders a kind of openness on set, Finn says, even when he’s chain-smoking and bickering with his ‘brothers’ on Peaky Blinders. And while he says his mum would describe him as ‘serious’, in person Finn is chipper and optimistic about what’s next for Hollywood’s young guard. ‘I think that generational change is the only thing that is going to bring about different opinions and allow us to respect each other regardless of race, gender, sexuality.’ ‘Peaky Blinders’ Season 5 is on BBC 2 later this year. ‘Dreamland’ is out nationwide later this year 89

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Study

Photography Anton Gottlob Styling Ben Schoﬁeld

Coated canvas and suede ‘Ridge’ backpack, £695, by COACH 1941 90

Stylist’s assistant Lauren Perrin

1’s 4 9 1 h c oa C , ed ad e aw st lo e s ke eavie i l ing the h l i tra for s h p tra noug s en y e e r g oom a se l is r h t l Wi ry-a car

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Theo wears full black aviator mask sunglasses with orange details, black Mikado silk suit and waistcoat with Swarovski crystals, all by DOLCE & GABBANA; necklace and earring model’s own

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sunglasses at night Whether hiding from the disco lights, avoiding eye contact or looking cooler than everyone else in the club, always wear shades after dark Photography Jessie Lily Adams Styling Gary Armstrong

In association with

Ali wears full black mask sunglasses with rubberised logo placement, pink and gold Mikado silk suit, both by DOLCE & GABBANA 93

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Frank wears black metal linear frame sunglasses with Made in Italy logo, blue Mikado silk suit with Swarovski crystals, both by DOLCE & GABBANA

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Oscar wears black aviator design with double bridge and logo detail, gold diagonal lamé waistcoat, both by DOLCE & GABBANA; necklace and earring (just seen) model’s own

Hair stylist Eliot McQueen at JAQ Management using Bumble and Bumble Make-up Anna Payne using Tom Ford for Men Models Frank, Ali, Oscar, Theo & Jesse at Casting Real Prop stylist Laura Little Photo assistant Tom North Stylist's assistant Lauren Perrin Hair assistant Charlie Pellowe Casting Shelley Durkan Production KO Productions ko-collective.co.uk

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HANDMADE IN ENGLAND E T T I N G E R .CO.U K +44 (0)20 8877 1616

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Worn with striped wool trousers by PANTALONI TORINO Prop stylist Laura Little Photo assistant Tom North Stylist’s assistant Lauren Perrin Production KO Productions ko-collective.co.uk

News

Text Owen Myers Photography Jessie Lily Adams

Techno never died. Embrace the Nineties dance genre with Hugo’s raspberry-ripple-fresh new unisex kicks, unveiled at Berlin Fashion Week – where else but Europe’s electronic music capital – and now yours to own from its London Sloane Square flagship. But don’t think they’re just for Sunday casuals, though – these trainers’ blend of supple leather, suede and structured mesh make them a winner with tailored slacks, box-fresh trackies or straight-fit shorts. They’re part of a growing trend for chunky, rave-inspired footwear, from Balenciaga’s supersized sneakers to Yeezy kicks that bulge like bubble waffles. But Hugo’s vision puts a slightly more wearable spin on the style. And, for a more toneddown look, these also come in all-over beige. Just don’t wear these bad boys to the rave – that candyfloss canvas will never be the same again. 97

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TIP THE

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Stylist’s assistant Lauren Perrin

Photography Anton Gottlob Styling Ben Schoﬁeld

Brown printed leather carry-on bag, £1,495, by SMYTHSON

101

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Handbook

Take a sprint, or just take your time, in hotter than hot sportswear brights

White and neon trainers, £565, by BOTTEGA VENETA

Red and white technical textile trainers, £365, by CORNELIANI

Blue and neon trainers, £265, by THE KOOPLES

Red wraparound mirror sunglasses, £149, by CARRERA from FARFETCH

Black ‘Facer’ sunglasses, £220, by CARRERA from MYTHERESA

Blue wraparound mirror sunglasses, £149, by CARRERA from FARFETCH

Orange and purple shorts, £45, by LUKE

Tobacco Absolute Bath and Shower Gel, £22, by MOLTON BROWN 102

Tie-dye leather shorts, £2,720, by LOUIS VUITTON

Black and yellow shorts, £90, by EMPORIO ARMANI EA7

Terre D’Hermès Hair and Body Shower Gel, £28, by HERMÈS

Peppermint & Eucalyptus Shower Gel, £3, by BULLDOG

Photographer Jody Todd

Edited by Sophie Clark

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Partnership

From left: Sky blue suit £149, white linen Oxford shirt £25, white leather trainers £35, all by M&S COLLECTION. Green suit £149, green canvas espadrilles £19.50, both by M&S COLLECTION. White T-Shirt £15 by DAVID GANDY FOR AUTOGRAPH. Grey suit £149, white linen shirt £35, grey tie £12.50, and white trainers £19.50, all by M&S COLLECTION

M&S have the scoop on how to update your summer wardrobe

efore making a beeline for your navy suit this season why not take your pick from a palette of ice cream hues? Mick Jagger favoured a pistachio three-piece, David Bowie wore anything from bubble-gum blue to peachycream tailoring and Harry Styles has taken to the stage in a raspberry pink suit. And now, thanks to M&S, you too can embrace powdery pastels this summer. Rethink your tailoring looks with softer, slimmer silhouettes and

pair dusty pink or sky blue suiting with Oxford shirts and white trainers for an effortless aesthetic. Fancy yourself in something more relaxed? Throw out the rule book and break up suits with linen bomber jackets and jersey blazers for a more unconstructed style. Or trust in denim to freshen up your tailored pieces. Whether it’s a classic denim jacket or the latest reworked jeans – a pastel palette + denim equals instant summer swagger. 103

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LONDON 71-72 JERMYN STREET | 4 DAVIES STREET | 23 BURY STREET | NEW YORK 50 EAST 57 TH STREET TURNBULLANDASSER.COM

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Groomer Mike O’Gorman using Wella Professionals Model Filip at IMG Stylist’s assistant Lauren Perrin Casting director Paul Isaac Production KO Productions ko-collective.co.uk

F E I BR R E T N U O C N E Rejoice! Shorts are getting even shorter, and if yours have got more than a foot of fabric, you’re not doing it right. Channel Armie Hammer In ‘Call Me By Your Name’ and prepare to bare.

Trends

Filip wears black wool mohair shorts suit by TIGER OF SWEDEN; black leather shoes by GRENSON; string vest and socks stylist’s own

Photography Dham Srifuengfung Styling Ben Schoﬁeld 105

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News

Clock This

CANDY MAN Text Owen Myers

eal men wear pink. But if fuchsia is a little loud, give a nod to rosy tones with ﬂashes of coral – Scotch and Soda’s new sneakers are just the ticket. The Dutch brand’s ﬁrst ever footwear line launches this season, with its inaugural collection inspired by the sun-bleached palette of summer afternoons at the seaside. These playful trainers are our pick of the bunch: lush suede uppers, patterned laces, and chunky rubber soles tough enough to withstand any after-dark adventures.

Step on it A pair of Loakes are for life. And the esteemed British brand’s new top-tier range – Loake 1880 Export Grade – have the makings of enduring wardrobe staples for years to come. Our pick is the Parliament, a butter-soft Oxford constructed from a single piece of calfskin, giving a fully seam-free look (say goodbye to trouser hems catching on your shoe), as well as chic enclosed laces. Given the level of intricate craftsmanship involved, only 5,000 of these will be made, so don’t dilly dally. 106

Photography (main image) Jessie Lily Adams Prop stylist Laura Little Photo assistant Tom North Stylist’s assistant Lauren Perrin Production KO Productions ko-collective.co.uk

Time is money, so don’t waste a second: Tateossian’s slick new Prezioso watch line adds a splash of colour to your wrist while keeping things office appropriate. Each piece in the range features a semi-precious stone face, from lapis to tigereye, but we love the shimmering mother-ofpearl design, pictured here, which evokes the romance of stormy summer nights.

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YOU’VE

Study

WHALE

Stylist’s assistant Lauren Perrin

Put some heft around your neck with the king of sea mammals

Chain necklace with gold whale charm, price on request, by ERMENEGILDO ZEGNA COUTURE

Photography Anton Gottlob Styling Ben Schoﬁeld 107

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Proﬁle

Burgundy silk and cotton polo shirt by CORNELIANI

Inspired by Nineties Brit rock, the musician aims to galvanise youth with ﬁre and fury hen asked how he would describe himself, Kelvin Bueno takes a deep drag on his cigarette before announcing that he is ‘in purgatory’. ‘If you know, you know,’ he continues enigmatically. Frankly I don’t, but a cursory listen to his intense rock band Outer Stella Overdrive – who he’s in alongside Jude Law’s eldest son Raff – proves that Kelvin is caught between heaven and hell. OSO’s bruising riffs and full-throttle vocals are inspired by British bands of the Nineties who sung so hard their voices almost gave out. ‘Our songs are from a place of frustration,’ Kelvin explains. ‘We love London, but there’s a lot of fakeness here, people have weird intentions.’ This authenticity, and the ability to speak about your emotions, form the heart of Kelvin’s music and his general countenance. A battle cry to unite the youth: that’s the focus of OSO, and Kelvin’s other project SAZ, an online community that brings together musicians for multi-artist mixtapes. ‘I always want to carry a message,’ he says of his music. ‘I want to say it’s OK, we’re all the same, we all go through shit.’ Perhaps that’s what he means by purgatory. Outer Stella Overdrive’s debut single ‘State Your Name’ is out now 108

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www.herring.co.uk

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Handbook

the tailored troop Work hard, play hard and get the job done with these high-ﬂiers

110

Black leather brogues, £135, by LOAKE

Brown leather brogues, £815, by CORNELIANI

Navy leather brogues, £245, by GRENSON

Sunglasses, £277, by PRADA from SUNGLASS HUT

Sunglasses, £160, by PARAJUMPERS

Sunglasses, £390, by LINDBERG

Black satin crocodile pouch, price on request, by DIOR

Dark brown leather ‘Jubilee’ satchel, £965, by ETTINGER

Oil blue leather bag, £1,045, by GIVENCHY

Prada Luna Rossa Black, £78, by PRADA from JOHN LEWIS

Sunday Cologne, £160, by BYREDO from MR PORTER

Himalaya, £155, by CREED

Photographer Jody Todd

Edited by Sophie Clark

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Nick wears black and white gingham blazer and shirt, both by MICHAEL KORS

112

Groomer Mike O’Gorman using Wella Professionals Model Nick Offord at Elite Stylist’s assistant Lauren Perrin Casting director Paul Isaac Production KO Productions ko-collective.

Photography Dham Srifuengfung Styling Ben Schoﬁeld

Trends

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M AD E G LOR I OUS A M O ME NT IN H ISTOR Y: IN TRODUCIN G TH E PR ESTIGE CU VE E FROM THE PI ONE ER S IN ENG LISH SPAR KLING W INE

NYETIMBER.COM E NJ OY RES PO N S IBLY

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Study

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Photography Anton Gottlob Styling Ben Schoﬁeld 115

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From left: Victor wears blue wide-leg washeddenim jumpsuit and black leather plaited belt, both by EMPORIO ARMANI Justin wears grey logo denim jacket and grey logo denim jeans, both by EMPORIO ARMANI 116

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Photography Ben Weller Styling Luke Day

SOMETHING IN THE JEANS Mr Armani’s latest offering reimagines denim, taking inspiration from iconic campaigns and Emporio Armani archives

In association with

Victor wears blue double-breasted washeddenim trench coat with belt, blue patch pocket washed-denim cotton jeans and brown silk neckerchief, all by EMPORIO ARMANI 117

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Justin wears blue wide-leg washeddenim trousers, clear lens sunglasses and black high-top nubuck trainers, all by EMPORIO ARMANI Victor wears blue wide-leg washed-denim trousers, blue lens sunglasses and slip-on logo sneakers, all by EMPORIO ARMANI

118

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Justin wears white wide-leg denim jumpsuit and black high-top nubuck trainers, both by EMPORIO ARMANI Grooming Lee Machin at Caren Models Victor Perr at Wiener Models and Justin Petzschke at Select Photo assistants Adam Kaniowski, Dan Douglas and Robert Self Stylist’s assistant Emily Tighe Casting director Paul Isaac Groomer assistant Rino Riccio Production Gabi Besevic-Simpson at CLM Lighting GAS Production Hire Location Lock Studios

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Photography Dham Srifuengfung Styling Ben Schoﬁeld Text Tom Rasmussen

Proﬁle

Oatmeal wool jacket by OLIVER SPENCER; red and navy houndstooth wool shirt by HOLLAND & HOLLAND; white cotton T-shirt by RON DORFF

The singer-songwriter making male emotional honesty cool ery normal stories.’ That’s the modest way that reggae-inspired artist Ady Suleiman describes his scalpel-sharp songs about the tumult of young adulthood. ‘It’s about anything that I’ve been emotional about in the past,’ he says. ‘Growing up, love stories with girls, mental health, family, and friends.’ Take Sad Story (Out of Luck), an unﬂinchingly honest track about working-class life and how hard it can be when the world doesn’t give you many chances. The key to a good song, in Ady’s opinion, is emotional honesty. Is it harder for a man to be vulnerable? ‘For me it’s never been an issue,’ he says. ‘But it can be really difficult for a lad to speak sensitively and emotionally about anything.’ So Ady does it for us. ‘More often than not [my songs] are about advice,’ he explains. ‘I wrote these songs when I was really young, when I was annoyed with the authorities, with religion, with not believing in anything. I wanted that song to start a conversation.’ Ady’s music isn’t about having all the answers, it’s about asking questions. And we could all learn something from that. Ady Suleiman’s new mixtape ‘Thoughts & Moments Vol 1’ is out on 5 April 121

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Study

Let Zayn Malik’s tartan satchel put a punkish twist on your Highland ﬂing

Stylist’s assistant Lauren Perrin

Photography Anton Gottlob Styling Ben Schoﬁeld

Tartan print leather backpack, £348, by THE KOOPLES 123

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News

Hey, Taiger Go bananas for Taigarama – Vuitton’s juiced-up new leather goods line, reimagining the house’s signature monogrammed Taiga leather into acid brights, obsidian black, and

VIBE Text Owen Myers

white that’s brighter than a Hollywood smile. The messenger bag is

ife deprived of beauty is not worthy of being called human,’ famously said the great Mexican architect Luis Barragán. We couldn’t agree more. That philosophy is at the core of Nicce’s colourblocking new capsule collection, which is inspired by Barragán and puts an unexpected sculptural twist on streetwear favourites. Sundaesweet panels will keep your wardrobe bright, even if the Great British Summer ends up being a washout.

Who’s in 2Chainz gang? Get in the middle of a chain reaction this spring. No, not Diana Ross’ disco classic, but Versace’s showstopping 2 Chain Reaction sneaker, a collaboration with Atlanta rap king 2Chainz. Designed with a full ‘more is more’ philosophy, the sneaker includes – deep breath – braille detailing, an ice-white chain-link sole, easy-on zippers connected by a nylon strap… Oh, and Greca detailing on the toe. This is Versace after all, dahling. 124

all you need to travel light this summer: pop in your iPad, an eye mask, and face mist for a ritzy mile-high experience, even if you’re travelling in cattle class.

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Study

s lash out

Step out in sandy treads – just spritz with suede protector before you go crabbing

Stylist’s assistant Lauren Perrin

Honey suede shoes, £235, by GRENSON

Photography Anton Gottlob Styling Ben Schoﬁeld 125

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F 3 8 L E AT H E R C A R R Y- O N

Business. Class.

Stylish departures. Wrinkle-free arrivals. After years of packing suits for business trips, we realised that all travel carry-ons shared a common problem: they left suits creased and wrinkled. Since there weren’t any alternatives, we decided to create one.

VOCIER.COM

CINCH IN

Groomer Mike O’Gorman using Wella Professionals Model Hamish Frew at Supa Stylist’s assistant Lauren Perrin Casting director Paul Isaac Production KO Productions ko-collective.co.uk

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Trends

You don’t need to have a rib removed to get a snatched waist this summer. The new take on corsetry is a little utility, a little punk– and a hell of a lot of fun.

Hamish wears khaki cotton twill gilet, green cotton vest and black double-pleated leather trousers, all by DSQUARED2

Photography Dham Srifuengfung Styling Ben Schoﬁeld 127

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WE’VE WON BEST SHAVING CREAM PRODUCT

Leave skin feeling softer, smoother and moisturised with our Maca Root & Aloe Softening Shaving Cream. Tested on men, not animals.

ENRICHED WITH COMMUNITY TRADE ORGANIC ALOE VERA FROM MEXICO

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Photography Dham Srifuengfung Styling Ben Schoﬁeld Text Tom Rasmussen

Proﬁle

Black polo shirt by FRED PERRY FOR MARGARET HOWELL; black Japanese drill trousers by MHL BY MARGARET HOWELL; dark brown webbing belt by MARGARET HOWELL

From Westeros to the world with a no-nonsense attitude

ean chews gum in that way only someone with a ‘cheeky chappy’ demeanour can. An Essex boy who first trod the boards as Billy Elliot in the West End at the age of 12, he describes himself as ‘easy-going’ and thinks it’s cool to love your mum and dad. ‘I think it’s cool to love full stop,’ he explains. ‘With the older generation it was a bit of an embarrassment to love. Now we’re a much more easy-going generation: say what you want, be who you want.’ While that ethos isn’t always associated with thespian life, Dean says that it helps. ‘If you’re easy-going with acting and let it flow, it helps the scene and makes it more natural.’ It’s evidently working: after an early role in Game of Thrones, he’s now about to play his first lead in Sam Mendes’ upcoming war epic 1917 and will be starring in Netflix’s The King alongside Robert Pattinson and good old Timmy Chalamet. Dean’s rapidly expanding CV has even come as a shock to the 21-year-old himself. ‘I always surprise myself,’ he chuckles. ‘I never think I’m going to get a job.’ ‘The King’ and ‘1917’ are due out later this year 129

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Two days of interaction, conversation and entertainment with the world’s biggest names in business, fashion, technology, sport and culture

8-10 May 2019 Soho Farmhouse, Oxfordshire

To apply for tickets, visit gq.co.uk/gqheroes

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News

We’ve got the horn for CP Company. And, apparently, so does Dublin rap phenomenon in-themaking Rejjie Snow, who’s teamed up with the casualwear wizards for a new photo project A Love Letter To Dublin, shot by fringe cultureobsessed photographer Joshua Gordon – who happens to also be Rejjie’s longtime pal. Rejjie’s making strides across the pond, on the back of his eclectic 2018 debut album Dear Annie (he

es to the country Text Owen Myers

shares a US label with Migos and Young Thug), but as the Dublincreated images show, there’s no place like home. In a similar way, CP Company’s SS19 line stays true to the brand’s proud history of smartening up urban staples, with a signature colour palette of slate grey, olive, and navy, as well as statement ﬂashes of Pepto-Bismol pink and pillar-box red. The padded burnt orange camo jacket worn by Rejjie here is our instant fave – armour for the urban jungle that’s well worth going into overdraft for.

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Ready to Rave Take it back, way back, to Nineties’ Berlin –the inspiration behind this limited-edition unisex Pop-Up Capsule Collection from HUGO Photography Kosmas Pavlos Styling Luke Day In association with

Vince wears clear polyurethane jacket, white cotton polo shirt, white polyamide trousers, all from the Pop-up Capsule Collection by HUGO 134

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Vince wears blue cotton denim gilet, black cotton T-shirt, blue cotton denim jeans, all from the Pop-up Capsule Collection by HUGO Available at Hugo.com

Groomer Ben Jones using Davines Haircare and MAC Cosmetics Model Vince at Kult Models Stylist’s assistant Emily Tighe Groomer’s assistant Nicola Harrowell

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Watches

FAC FACTS What makes you tick? Whether it’s a mindblowing skeleton dial, a shot of neon or a king snake motif, these watches will give a hit of adrenalin to your style Photography Ted Humble-Smith

Styling Ben Schoﬁeld Captain Cook MK II automatic, £1,810, by RADO

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Grade 5 titanium RM 36-01 Tourbillon G-sensor Sebastien Loeb, £591,000, by RICHARD MILLE

Watches

137

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Watches

Milgauss, £6,300, by ROLEX 138

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Watches

Heritage Chrono Blue, £3,160, by TUDOR 139

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Watches

Blue Temple Island rubber strap S300, £2,995, by BREMONT 140

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Watches

Matte anthracite Classic Fusion Tourbillon Orlinski Sapphire with faceted skeleton dial by Richard Orlinski, £114,000, by HUBLOT 141

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Watches

Steel Gucci Dive with king snake motif, £980, by GUCCI 142

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Tango 300 Marshall Amplification Limited Edition, £1,195, by RAYMOND WEIL

144

Photo assistants Andreas Parperis, Richard Oxford Stylist’s assistant Lauren Perrin Retouching Joe Thomas Production KO Productions ko-collective.co.uk Location Lock Studios

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Watches

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BARTENDERS. ARE YOU MIXING WITH THE WRONG SORT?

Introducing No.1 Botanical Soda. Ten herbs carefully chosen to complement spirits brilliantly and add something diﬀ erent to your cocktails. Made using absolutely no sugar, additives or plastic, these are the only sodas containing pure botanical extracts authenticated by the scientists of the Royal Botanic Gardens, Kew. No.1 Botanical Soda. It’s time to mix with a better sort.

Available exclusively from no1botanicals.com

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KALEIDESCOPE DREAM Lewis Hamilton’s second collection for Tommy Hilﬁger helps you channel a sunshine state of mind in rainbowbright sportswear with an edge of LA street style Photography Kosmas Pavlos Styling Luke Day

In association with

Fabian wears black cotton oversized jacket, fruit dove cotton checked hoodie, pink tartan cotton woven boxer shorts, all by TOMMYXLEWIS 146

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Fabian wears purple cottonblend hoodie, purple cottonblend shorts, black panel chinos (worn underneath), black nylon Lewis Hamilton bag, all by TOMMYXLEWIS Groomer Ben Jones using Davines Haircare and MAC Cosmetics Model Fabian Stadler at Wiener Models Stylist’s assistant Emily Tighe Groomer’s assistant Nicola Harrowell

147

Backpack in Smooth Tan - £795

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ASPINALOFLONDON.COM WESTFIELD

HARRODS

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Discover the full Aerodrome Collection online and in-store

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Harris Dickinson Photography Scott Trindle, Styling Luke Day. Page 192 Harris wears crêpe de Chine shirt and necklaces, all by SAINT LAURENT BY ANTHONY VACCARELLO

Cody Fern Photography Cedric Buchet, Styling Luke Day. Page 150 Cody wears cupro tie shirt by COACH 1941; ﬂared trousers, suede choker and oxidised pendant (worn as earring), all by SAINT LAURENT BY ANTHONY VACCARELLO; belt by GIVENCHY

The season’s most sensational new styles, invigorating imagery, and the new wave of pin-ups shaking up Hollywood. Cody Fern, Harris Dickinson and Evan Peters are young, willing and eager – devour them all inside.

Evan Peters Photography Jackie Nickerson, Styling Gary Armstrong. Page 234 Evan wears flower print biker blouson by DIOR

28 149

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In a blink of his kohl-smeared

Cody Fe

eyes, has skyrocketed from being a

pu kfrom outsider the Outback to embodying the spawn of Satan on screen. Yes, your next

gg p -up stunts in structural yohji o tabi boots. Meet Hollywood’s

h new g rebel

Cedric Buchet Styling Luke Day Text Maxwell Williams Photography

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White and black sequin stripe blazer, black skinny poplin shirt, black leather tie, all by CELINE BY HEDI SLIMANE

151

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‘I didn’t have any friends,’ says Cody Fern, setting down his teacup of black Earl Grey, steam wisping off the top. ‘No one wanted to hang out with me. I was severely bullied. It was not fun.’ Although Fern grew up as an outcast in the remote Australian Outback, there are a lot of eyes drawn to him now in the kitschy surroundings of LA’s Hollywood Historic Hotel lobby. We’ve set up the interview at what we hoped would be a quiet table. It’s not. A Midwestern family is loudly checking in, and the off-brand-poloshirt-wearing son takes a long sideways look in our direction. Perhaps he recognises Fern, or maybe he simply sees the dictaphone on the table and infers that this striking fellow with a razor-cut jaw, frost-blue eyes and a Jacquemus coin purse slung around his neck, is an Actual-Real-Live-Honest-To-Goodness Hollywood Star In-The-Flesh. He may not yet be a household name, but when cameras ﬁnd Cody Fern, they glue to him. As the long-locked, new romantic antichrist Michael Langdon in Ryan Murphy’s maniacal TV show American Horror Story: Apocalypse, Fern drags viewers to hell and back every time he skulks on screen. And he absolutely wolfed down scenes as serial killer Andrew Cunanan’s ill-fated ex-lover David Madson in The Assassination of Gianni Versace, perhaps Murphy’s best creation yet. And even though his turn as Duncan Shepherd, the scheming son of powerful lobbyists, in the ﬁnal season of House of Cards is really just as a pawn in a political chess match, he bends the character into a compelling portrait of cutthroat careerism. Away from the screen, Fern is ploughing onto the LA scene. At this January’s Golden

Globes, he served a Margiela look (semi-sheer top, eyeshadow, wavy hair) on the red carpet, cementing the arrival of an individualistic, smouldering star of a different stripe. His genderfuck flamboyance might feel more at home at a queer dance rave than among groomed media-trained young ingenues in still-conservative Hollywood. But his outsider spirit is his trump card; Fern is exactly what Hollywood needs. Even so, it took a long journey to get him here. See, Fern is 30 – maybe a bit on the older side to just now be getting recognition as a sex symbol – and he didn’t have any friends as a child because he grew up seven hours’ drive outside of Perth, way past the bush and into the Outback. The son of a police officer, he turned out to be a little weird for the town of Southern Cross, population 680. ‘I had, I mean, my older brother,’ says Fern. ‘He’s two years older than me, [but] we’re very different. I was also a highly curious and perceptive kid. I was hyperactive, and I was bored with the status quo. I just didn’t ﬁt in.’ Then there was the incident when he threatened the principal with a chair, which got Fern booted from Southern Cross’ public school. ‘That was a horrendous, terrifying experience,’ he says. Fern was then ‘thrown into a boarding school at 14. Everyone’s been at this boarding school for years, so I was a new person walking into a system that’s very fully formed, and I was put into the dorms with 17- and 18-year-olds.’ It was a profoundly confusing experience for Fern, who had no idea what he wanted from life. But he was a bright young man, so he went to business school, and at 22, he graduated

‘I was a highly curious and perceptive kid. I was hyperactive, and I was bored with the status quo. I just didn’t ﬁt in’ 152

a year early with a double major in management and marketing at Western Australia’s Curtin University of Technology, one of the most prestigious institutions in the entire world. Then, he went back to get a Master’s degree in psychology just for posterity. He seemed destined for a life of finance, immediately scoring a high-status internship at corporate tax analyst behemoth Ernst & Young’s Perth office. Yet, somehow among the stiff suits and the corporate environs, simmering in the back of Fern’s mind was Meryl Streep’s haunting turn in Sophie’s Choice which he’d seen on national television, and the Cher movies he devoured as a kid, and how those transported him away from his tiny village. Then he saw Cate Blanchett become the queen in Elizabeth: The Golden Age, and it floored him. ‘After seeing that, something came alive again,’ Fern says. ‘I just realised I hated my life; I hated the people that I was hanging around with; I hated the music I was listening to; I hated the clothes I was wearing. I was like, “This is a slow and painful death, so I either have to go down with the ship or I have to swim fast and hard in hypothermic waters and figure it out.” And I quit. I quit that day. I walked out and I joined an experimental theatre group.’

hen I say Cody Fern is weird, I mean good weird. That sort of redeﬁning good weird that changes people’s perceptions of what it means to be an actor – or any notable young ﬁgure in the public eye – in America. He’s not built from the same Hollywood bro mould as, say, Dave Franco or Ansel Elgort. Nor is he as aggro as Shia LaBeouf or as self-consciously kooky as Ezra Miller. Fern’s magnetism is harder to define, stemming from an ethereal richness that’s seemingly both masculine and feminine, and sexy as hell. Fern brings that energy into his performances, too – he was the one who suggested the red eyeshadow that his Apocalypse character Michael Langdon wears. He tells me he ‘loves’ challenging concepts, and, in our conversation, he isn’t afraid to speak his mind about subjects like theology (‘I’ve got news for you; Jesus wasn’t white’). I suspect he might be a little uncomfortable with the

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Cody Fern

Waikiki-chocolate wool jacket, off-white and blue-brown stripe cotton shirt, blue and silver stone-bleach denim jeans with studs and metal detail, claret leather boots, all by GUCCI 153

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Nude silk corset, midnightblue double-breasted herringbone suit with satin lapels, black patent leather belt, all by MAISON MARGIELA ‘ARTISANAL’ MEN’S DESIGNED BY JOHN GALLIANO 154

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Cody Fern

Blue sleeveless leather Perfecto jacket, blue leather biker trousers, black roll buckle belt, black leather boots, all by GIVENCHY 155

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Black, white and red Prince of Wales overshirt, prairie wool gauze trousers, black leather treated jockstrap and embroidered loafers, all by GUCCI 156

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Cody Fern

Blue cupro Hawaiian-print tie shirt by COACH 1941; black suede leather studded choker and oxidised pendant (worn as earring), both by SAINT LAURENT BY ANTHONY VACCARELLO 157

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idea of heteronormativity. He doesn’t make eye contact until he really means to make eye contact. And he is slowly becoming American. ‘I want to be able to partake in what happens in the country,’ he says. ‘When you’re younger, politics are an abstract concept that don’t affect you, and then as you get older you realise that you’re an idiot if you’re not paying attention.’ Fern is vocal in his support for victims of abuse. Last year, he accepted a role on post-Kevin Spacey House of Cards, which thrust him into that conversation without him asking for it. And without getting into specifics, he says he’s had to survive abuse, which has allowed him to have empathy for other survivors. He has no pity for those whose careers have been cancelled. But he brings up an important, nuanced point, in that the spotlight shown on high-proﬁle alleged abusers such as Spacey and Harvey Weinstein has allowed for lesser behaviours to go unpunished (both men deny wrongdoing). ‘That’s a very dangerous area to be in,’ Fern says, ‘because somebody is able to say, “Well, I’m not Harvey Weinstein.” So it excuses little behaviours that snowball into bigger behaviours.’ He believes that a bigger change is on the horizon. ‘Men have to be afraid at the moment,’ Fern says. ‘If you’re a little bit uncomfortable, who cares? If you’re worried, you probably have a problem. I’m all about sweep out the trash,’ he says, taking a sip of tea. ‘I’ve got no sympathy.’

ern is well matched to Ryan Murphy, the god-like showrunner behind Nip/ Tuck, Glee, Scream Queens, and the American Horror Story franchise, all shows that consistently lampoon our sexist, racist, homophobic society, and feature womencentric and diverse casts. Take, for instance,

the development of Fern’s Michael Langdon in 2018’s Apocalypse. Midway through the fantastical horror show, the top witches visit a school of young men to assess whether Langdon, a warlock, is powerful enough to be considered a Supreme (the highest level of magi, a position heretofore only held by a long line of witches). The warlocks are ridiculed, interrupted, and mocked, a clear table-turning on how women are treated in a patriarchal boardroom. ‘You say this was a boy? As in, male?’ asks a top witch incredulously, as played by Frances Conroy. ‘In all recorded history, no man has ever approached the level of Supreme; men are simply not equal to women when it comes to magical ability,’ spits Sarah Paulson, as the current Supreme. ‘Testosterone […] impedes access to the ethereal realm.’ It’s great stuff, and it’s not lost on Fern, being able to work with women like Paulson and Conroy, as well as Hollywood grand dames such as Kathy Bates and Jessica Lange. ‘At ﬁrst, [I was] just trying to not freak the fuck out,’ he says, talking a mile a minute. ‘But Sarah, myself and Kathy formed a real artistic bond on that show. In-between takes we were always talking about what can enrich the scene and bring it alive. And I’m talking with, like, fucking Kathy Bates – Oscar-winning Kathy Bates! – about art and hearing stories of shooting on Misery and listening to Sarah talk about 12 Years a Slave, and just the history of it all.’ Having escaped Western Australia, it’s as if Fern ﬁnally found his people. He tells me about going to see a Rufus Wainwright concert with his American Horror Story co-star Billie Lourd. And he holds out his hand to show me an opalescent piece of jewellery that Bates gave him at the end

‘Men have to be afraid at the moment… I’m all about sweep out the trash. I’ve got no sympathy’ 158

of shooting. ‘She gave me this,’ he says, beaming. His rings clink together, and the sound ripples through the room like the echoes of a windchime.

t won’t be long before Fern has the chance to delve deep into another Murphy character, as Murphy recently posted on Instagram that he’s ‘cooking something up’ for Fern alongside Darren Criss (who played Andrew Cunanan in Versace) and Finn Wittrock (another hunky American Horror Story alumnus). ‘Finn, Darren, and I were all messaging each other: “Do you know what this is?”’ Fern says, laughing. ‘Like, “Oh my God, this is classic Ryan – he’s literally told the world before he’s told us.” But Finn, Darren, and I love each other, and we love Ryan, and there’s no way we are going to say no.’ Until the details of that are sorted out, Fern can be found dealing with the foibles of being a rising star. He lists off ways fans have invaded his privacy: his mother’s Facebook was hacked, old photos were dredged up, and once, a fan found his address and sent him a gift of fruit. ‘It was bags of avocados because my old Instagram used to have [avocado pictures],’ he says, as a bemused wrinkle appears on his forehead. ‘My life has been invaded in a way that I didn’t think it would.’ His Instagram has remained relatively sparse ever since. That and the current political climate (‘We have an orange reality-TV show host running the country with the Russians,’ he says at one point), are enough to send Fern away to another, better climate. ‘I’m taking a little break from it,’ he says. ‘I’m going away for two weeks to Costa Rica and I’m just not thinking about [politics]. I’ve not been, and I haven’t got any plans there. I land, I might be there for five days, I might be there for two weeks. I don’t know. I just needed to get on a plane and go somewhere with friends that is removed.’ Ah, yes, and he clarifies that he’s going as part of a group of five. Just enough to squash into a car for road trips around the country. That is, until Ryan Murphy comes calling again. So, yeah, it’s confirmed: Cody Fern has friends now. ‘American Horror Story: Apocalypse’ is streaming on NOW TV; of Cards’ is streaming on Netflix Groomer Eliot‘House McQueen Photographer’s assistant Mat Kay

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Cody Fern

Nude silk corset, midnightblue double-breasted herringbone suit with satin lapels, black patent leather belt, all by MAISON MARGIELA ‘ARTISANAL’ MEN’S DESIGNED BY JOHN GALLIANO 159

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Black collarless wool and falling silver thread jacket and trousers, black cotton vest top, all by GIVENCHY

160

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Natural python blazer, black pattern silk shirt, black flared wool trousers, black studded suede leather choker, black python belt, black leather Chelsea boots, all by SAINT LAURENT BY ANTHONY VACCARELLO; black cotton socks by PANTHERELLA

Cody Fern

Groomer Jamie Taylor at The Wall Group Casting Starworks Group Photo assistants Joshua Tarn and Ali Gokay Sarioz Stylist’s assistant Dominique Sharpe Digital technician Dominique Powers Local production Kennedy Carter at Oui Productions Production KO Productions ko-collective.co.uk Location base Milk Studios, LA

161

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LIKE A WARM WILD WIND Styling Luke Day Photography Ben Weller

162

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Taylor wears wool waistcoat by LORO PIANA; blue denim jeans by CALVIN KLEIN JEANS

163

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Taylor wears navy and offwhite printed over-the-head shirt by KENT & CURWEN

Taylor wears stone tech cotton trench coat by NEIL BARRETT; white cotton socks by MSGM; white leather trainers by AXEL ARIGATO; vintage boiler suit from THE VINTAGE SHOWROOM; string vest stylist’s own 164

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Taylor wears brown cashmere suede coat, olive wool roll neck and black techno jersey trousers with belt, all by PRADA

165

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Taylor wears navy and off-white printed over-the-head shirt, by KENT & CURWEN

166

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Taylor wears blue and white leather jacket and white leather shorts, both by MSGM; black T-shirt by NIKE 167

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Taylor wears grey sleeveless hoodie and heather grey jogger bottoms, both by MICHAEL KORS; printed viscose T-shirt by VERSACE 168

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Taylor wears black and grey hoodie by MICHAEL KORS; blue boxing shorts by LONSDALE

Taylor wears black tech cotton trench coat by MARGARET HOWELL; navy zip-up top by THE KOOPLES SPORT

169

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Taylor wears dark grey wool pinstripe jacket and light grey pinstripe jacket, both by VERSACE; white string vest stylist’s own

170

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Taylor wears black wool coat by THE KOOPLES; burgundy windbreaker and black Air VaporMax Plus trainers, both by NIKE; denim jeans by BALENCIAGA

171

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Taylor wears grey cotton sweatshirt by CHAMPION; white cotton T-shirt by SUNSPEL; navy brushedcotton fleece jogger bottoms by RON DORFF

Taylor wears brown cashmere suede coat and olive wool rollneck, both by PRADA 172

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Taylor wears dark khaki dry cotton canvas windcheater, off-white and rust stripe oversized shirt, black heavy drill-pleat trousers and tobacco silk straight tie, all by MARGARET HOWELL

Taylor wears black ‘Secret Society’ cotton hoodie and red check nylon swim shorts, both by VETEMENTS

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Taylor wears black wool coat by THE KOOPLES; burgundy windbreaker by NIKE

Taylor wears white cotton vest by SUNSPEL; blue denim jeans by CALVIN KLEIN JEANS 174

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Taylor wears black tech cotton trench coat by MARGARET HOWELL; navy zip-up top by THE KOOPLES SPORT; black with stripe nylon trousers by ASTRID ANDERSEN; black Air VaporMax Plus trainers by NIKE

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Taylor wears brown shearling jacket by KENT & CURWEN; grey tech cotton hoodie by BRUNELLO CUCINELLI; navy brushed-cotton fleece jogger bottoms by RON DORFF

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Taylor wears black, red and grey wool trousers by STELLA McCARTNEY; vintage ‘Jubilee’ SEDITIONARIES T-shirt, stylist’s own

Groomer Lee Machin at Caren Model Taylor Photo assistants Adam Kaniowski, Ben Breading and Martin Baker Stylist’s assistant Emily Tighe On-set production Henry Hewitt Production Gabi Besevic-Simpson at CLM Lighting GAS Production Hire With thanks to Sab

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From left: Tarzan wears printed cotton bowling shirt and black nylon shorts, both by NEIL BARRETT Saaf wears black cotton mesh tank top by DSQUARED2; white shorts and jewellery model’s own

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Ashan Nipun wears blue mouline wool top, ladder-proof nylon roll neck, white jersey T-shirt and white techno jersey shorts, all by PRADA

Photography James Giles Styling Gary Armstrong

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Ranga wears grey cotton sleeveless ‘Rush’ T-shirt by RON DORFF; shorts model’s own

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From left: Saaf wears (above and opposite page) blue cotton tie-dye jumper by MSGM; blue sarong stylist’s own Tarzan wears black and blue cotton stripe wadded hoodie by MARTINE ROSE; printed jersey shorts by MARNI 182

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Achinta wears red urban swim short by RON DORFF; necklace model’s own

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Sahan wears orange Sicily-print linen T-shirt by DOLCE & GABBANA

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Sasanka Madusha wears white and green rayon Luka shirt by GMBH; green nylon ripstop cargo pants by STONE ISLAND; necklace model’s own

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Sithija wears khaki exerciser shorts by RON DORFF; silver Shimba necklace, black agate Formentera silver necklace, both by TATEOSSIAN 187

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Tharaka wears red cotton mesh long-sleeve T-shirt by LOUIS VUITTON; red and black sarong stylist’s own; ‘A’ necklace model’s own

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Shan wears blue and red ‘flying phoenix’ oversized shirt, and blue and red ‘rose’ poplin wide shorts, both by KENZO; red beaded anklebracelet stylist’s own 190

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Models Saaf, Tarzan, Ashan Nipun, Ranga, Sahan, Achinta, Sasanka Madusha, Suresh, Shan, Gayashan, Tharaka Stylist’s assistant Lauren Perrin On-set production and casting Spencer Morgan Taylor at Harbinger Creative Local production Metaramba Productions Production KO Productions ko-collective.co.uk Visual artist Christophe HamaidePierson at AVAF Special thanks to Geoffrey Dobbs, The Dutch House, The Sun House, Taprobane Island, Closenberg Hotel, Natasha Sand, Yanik Tissera, Mika Tennekoon

Guyashan wears yellow ‘Luxembourg’ trousers by HERMÈS; 18ct black gold necklace with black diamonds, 18ct yellow gold necklace with green and yellow sapphires, both by SHAMBALLA JEWELS; watch and necklace model’s own

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or se

ods to

co-st audaciously ssex lad himself is just as multifaceted. Meet ywo aker Photography Scott Trindle Styling Luke Day Text Caspar Salmon

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Black gabardine wool blazer, burgundy twotone shirt, shark tooth, skeleton and pendant necklaces, and chain necklace with oversized silver neck piece, all by SAINT LAURENT BY ANTHONY VACCARELLO 193

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‘THAT’S PERSONAL, MAN. Like, why would that be in an interview?’ Harris Dickinson is gazing at me, gracefully slumped over a high table in a studio in North London. His readable face enacts a display of disarming helplessness; his body is a hive of unease. I’m ﬂummoxed. The question I have asked to prompt this moment of You-Shall-Not-Pass is whether he has meetings with his agents to discuss his career direction. He continues: ‘Would you be happy to talk about the set-up of your work situation and the conversations that happen inside of your work world, on paper, for everyone to see?’ And, because Dickinson is a sweet, likable man – there is no bile in him, no aggression; the stand he takes at this point seems to stem from real discomfort – I ﬁnd myself telling him about my own career in the hope of reassuring him. Nothing doing: ‘Sorry man’, he says. ‘I feel like I’m blocking your interview.’ Later, when I look back over our encounter, I find myself still a little baffled, and disappointed somehow. What put him on edge? Was it something I said? I come to three possible conclusions: one, that the East Londoner in him was made uneasy by my poshness; two, that he is young, and fearful of giving anything away at a point in his career when he looks set to be very famous; three, that he was hungover.

arris Dickinson was born 22 years ago in Leytonstone, and had a relatively unusual life until he was cast as the lead in Eliza Hittman’s beautiful and raw Beach Rats

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‘I don’t ever want to feel entitled, or like I deserve to be telling a story or getting opportunities’ at the age of 19 – a star-making turn in a film of remarkable sensitivity. Centring on a young closeted man from the working classes who hangs out with his pals in the day and hooks up with older men at night, the film is at once erotically charged and infused with melancholy. Dickinson brilliantly captures that duality in his performance. He discovered a love of acting as a child at RAW, a North-East London academy providing workshops for children and young adults. Dickinson’s IMDb page mentions that he performed in Pauline McLynn’s play Angels at the National with the RAW Academy in 2014 – which is rather touching given that he has since worked with Danny Boyle, Donald Sutherland and Angelina Jolie. ‘I went to RAW when I was ten or 11 years old and that was the first time I experienced a real love of acting, a love of performing,’ he says. ‘I was quite a shy kid and that made me feel like I could be in a different environment and feel safe. RAW gave me a real sense of who I am and who I want to be.’ This guilelessness carries over to Dickinson’s Twitter page, where his bio calls him an ‘actor/ filmmaker’: the films Dickinson has created are short movies that he wrote and directed

in his teens. I reckon most other upcoming actors would be keen to bury their juvenilia – so I ask him if he wants to return to writing and directing. ‘Yeah, I do. I’m always writing things… I don’t ever want to feel entitled, or like I deserve to be telling a story or getting opportunities.’ Throughout our chat, Dickinson comes most alive when talking about films and acting. He is unstoppable when talking about his latest film passions: the queer British auteur Terence Davies, the French New Wave pioneer Agnès Varda, and... Death Becomes Her. (‘Have you seen Death Becomes Her? With Meryl Streep? I fucking love Meryl Streep, man! I love Meryl Streep. That woman!’) His enthusiasm gives off a sense of humility and of wonder that he, Harris Dickinson, is doing all this. ‘I love it all man, I love prepping, I love being on set, I love working in a group environment. I think I’m a team player so I enjoy collaborating. I appreciate filmmaking, which I think is important, because I think it means I feel fortunate to be a part of it.’ Luck comes into it only so much: Dickinson is a natural whose screen presence does a lot of the legwork for him; he brings real finesse to his line readings, and there is something pleasingly ironic about him. You see a hint of this in 2018’s Postcards From London, a curio set in an imagined world of high-art rent boys, where he plays Jim, a newcomer to London. At one stage he has a scene where a client gets him to enact classical poses dressed in nothing but a loincloth. Jim asks if they’re going to get busy at any point, and the john snaps, ‘I thought we were here to recreate a 17th-century

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Harris Dickinson

Western check shirt, black low-waisted raw stretch denim skinny jeans, black ostrich leather boots, silver bevel engraved cuff, black leather woven bracelet and shark tooth necklace, all by SAINT LAURENT BY ANTHONY VACCARELLO; ring (worn throughout) Harris’ own

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Harris Dickinson

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masterpiece.’ Dickinson, his face a bas-relief of cherubic innocence, deadpans: ‘We are – and I’m having a great time.’ I tell him I think he’s funny and ask if he fancies trying his hand at comedy. He seems a little surprised: ‘Really? I would like to do comedy. I do have a proper silly side – and so I think if I ever get to show that, that could be fun. But I don’t think it’s healthy to say I want to do this next, or I want this sort of role next.’ Dickinson will be working in a somewhat comedic mode, presumably, in this winter’s Kingsman: The Great Game – a prequel to the existing, massively popular Kingsman movies, set in World War I. He is excited and rather starry-eyed about the project, in which he plays a young aristocrat, calling his co-star Ralph Fiennes ‘amazing, incredible’. This doesn’t seem to be a stock reply so much as a heartfelt assessment. Dickinson is just as enthusiastic about Matthias & Maxime, a forthcoming Québec-set drama by the young Canadian director Xavier Dolan, in which he has a small role. Dickinson was hand-picked for the part by Dolan, presumably on the basis of his breakout performance in Beach Rats. ‘It was lovely, man. I’m such a fan of his work, so for him to ask me to do it was very lovely.’ Dickinson often proves himself to be observant and insightful during our conversation, remarking of the sometimesdisparaged Dolan: ‘You can tell a lot about a director by how the crew treats them and how the crew respect them, and his colleagues really respect him, and trust him.’

1am’. And once, at a time when he is challenging me and there is the faintest crackle of conﬂict in the air, a ﬂash of intensity in his eyes turns him movie-star stunning. That moment happens when I ask him about the queer roles he has taken on in his career so far. He has made something of a reputation for himself from it, not least because of that remarkably candid turn in Beach Rats. I observe that, until very recently, it would have been career suicide for an actor to take a number of queer parts at the outset of their career. He tells me he isn’t afraid of typecasting: ‘The work I’ve done, every single job couldn’t be more different. Beach Rats, Postcards, both deal with LGBTQ issues, but in different ways… and how can you be typecast as gay? That doesn’t make sense to me.’ I decide to push him a little on this. As a queer man, I wonder if he hasn’t been privileged to be able to take several gay roles and not worry about it affecting his career – something that a queer actor might be a little wary of. He leans in a little towards me, and looks me full in the eye, saying: ‘Were you angry at me? Were you

kind of confused? Does it make you upset that I’m a straight actor playing a gay role?’ He isn’t exactly seething, but I feel I’ve stirred something in him. His tone is far from aggressive, rather, he seems interested, a little piqued and energised, if perhaps a touch defensive. Nevertheless, he commits fully to his answer, which I think is a good and sincere one: ‘The only thing I can do is represent the experience as accurately and respectfully as possible. Because otherwise I’m just seeking gratification from that struggle. But how do you know what anyone’s experience is? You can’t. And no one knows my experiences.’ Dickinson’s sometime caginess seems to derive mostly from an understanding of his changing profile: along with the Kingsman prequel, which will surely take him to a new level of recognition, he will be in next year’s Maleficent 2, another big budget drama. (‘I just don’t understand how I got cast as a Disney prince,’ Dickinson says, while looking very handsome.) With this new fame comes more chances to fall flat on your face, and Dickinson is only too aware that an errant remark can derail a career. Taron Egerton, the star of the original Kingsman movies, recently got into hot water for comments interpreted in some quarters as supportive of Kevin Spacey.

ater that day when I mention to a friend that I interviewed Harris Dickinson, he promptly performs an extravagant and perhaps unnecessarily protracted mime of convulsing to death from lust. People tend to do this around Dickinson. In the TV series Trust, about the kidnapping of John Paul Getty III, four women devour his character with their eyes as he swims in a pool and one of them remarks, ‘You wouldn’t say no, would you?’ In Beach Rats, he gets called ‘pretty, real pretty’ and ‘very sexy’. In Postcards From London, someone tells him, ‘You are probably one of the most beautiful men I’ve ever seen.’ And yet, when he arrives for our interview, Dickinson slinks in incognito and from the corner of my eye I take him for, maybe, a pleasant-looking photographer’s assistant. When removing his flat cap and introducing himself he graduates, looks-wise, to ‘attractive person you might see smoking outdoors at a house party and make discreet enquiries about to the party organiser’. While we chat, a makeup artist zhuzhes Dickinson’s hair with some spritzes of something expensive-smelling and applies a few dabs of slap to his cheekbones, which carries him through to ‘person whose every Instagram photo you decide to check out at 198

‘Were you angry at me? Does it make you upset that I’m a straight actor playing a gay role?’

Dickinson’s tentativeness is amusingly evident in the way he clams up as soon as I press record on my tape and then visibly decompresses again whenever I press pause.

n-between suffering through official interview questions, Dickinson asks cheerily about my children, or the style of today’s photoshoot, showing polite interest when his ancient make-up artist and interviewer reminisce about today’s hair inspiration: Brett Anderson from the Nineties. He compliments me on my cheap clothes, courteously affecting to think my cardigan looks designer. There’s something engagingly open about him, which can seemingly tip into goofy: at one point as we’re sitting down at a table by a mirror, he launches into a brief improv ‘bit’ where he orders us both drinks from an invisible barman. It’s slightly weird and totally charming, just like the moment when he finds out it’s my birthday and immediately sings me a few bars of Happy Birthday in a merry, laddish baritone. These moments remind me that Dickinson is still only 22. No wonder he’s loath to talk about what lies ahead: who wants to be outlining their future career to a stranger, only two years into their twenties? But he may have to become somewhat inured to people wanting to know his business. Dickinson appears startled that I have read his tweets – the most basic homework imaginable for a journalist – and is momentarily frazzled when I ask him about the odd political comment he has let slip online. He won’t be drawn on veganism, Trump, or the situation in Kerala, all of which he has commented on just once, and none of which would seem all that likely to nail-bomb his nascent career. In a slightly forlorn voice, he says: ‘It’s silly of me to assume that no one’s going to look at those, but in my head I’m still someone with 200 followers that are my family and friends.’ Part of the road ahead for him looks set to be how he manages his privacy and image, in order to keep doing what he loves: with greater fame comes juicier gigs, as he well knows. We turn off the mic. He makes a point of telling me, with palpable feeling, that he made one of the ﬁlms that I had asked him about for money, and he feels he can’t say that – but that it’s important to him to keep busy, because he is a workingclass actor and doesn’t want to take any of his new opportunities for granted. I tell him that, surely, it’s important and right for him to stand up for his roots in interviews, and that nobody will think any less of him – quite the contrary – for honouring his background by maintaining an honest and steady work ethic. He looks at me, leans back, pauses, and a little smile breaks across his features: ‘Yeah. Put that in.’

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Harris Dickinson

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Harris Dickinson

Black gabardine wool blazer by SAINT LAURENT BY ANTHONY VACCARELLO 201

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Black gabardine wool suit, black and grey cotton stripe T-shirt, silver bevel engraved cuff, shark tooth necklace, lowtop white leather sneakers with multicoloured laces, all by SAINT LAURENT BY ANTHONY VACCARELLO 202

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Harris Dickinson

Grooming Michael Harding at D+V Management using R+Co Photo assistants Fabian Nordstrom, Pedro Faria & Kestutis Zilionis Stylist’s assistants Emily Tighe, Sophie Casha Digital technician Conor Clarke Set designer Sophie Durham Production KO Productions ko-collective.co.uk

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New World order Photography David Hughes Styling Elgar Johnson

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Omar wears red military evening shirt with matching sash and oversized patches, and red red‘Pyjama’ Pyjama trousers, all by LOUIS VUITTON

Hal wears rust cotton and silk blazer and olive ﬂax polo shirt, both by CORNELIANI; custom-made Lycra singlets (worn throughout), by DANIEL W FLETCHER 205

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Moses wears multicoloured ‘Flags’ patchwork trench coat, black inside-out T-shirt, black 3D-pocket cargo trousers, white leather LV trainers, silver chain Gourmette necklace, and silver enamel rings, all by LOUIS VUITTON

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Xander wears grey ‘Plastron’ shirt with matching sash and oversized patches, dark grey ‘Big-Crease’ trousers, and light grey ‘Cheese’ hat, all by LOUIS VUITTON

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This page: Benjamin wears brown leather monogram ‘Admiral’ jacket, white cotton shirt, sand pleated wool trousers, black leather loafers with silver chain, and brown leather monogram ‘Soft Trunk’ messenger bag, all by LOUIS VUITTON

Opposite: Benjamin wears grey wool zoot suit and grey wool ‘DNA’ shirt, all by LOUIS VUITTON 208

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From left: Moses wears houndstooth ‘Africa’ double-breasted suit jacket, houndstooth ‘Africa’ casual shirt and trousers, and grey leather LV trainers, all by LOUIS VUITTON Omar wears houndstooth ‘Africa’ car coat, houndstooth ‘Africa’ blouson jacket (worn under), houndstooth ‘Africa’ zoot-suit trousers, and silver chain Gourmette bracelet, all by LOUIS VUITTON 210

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Groomer Roxane Attard using Davines Models Omar Jama at D1, Xander Hepher at Models 1, Benjamin Lessore at Supa, Moses at IMG Photo assistant Andy Moores Stylist’s assistant Kit Swann Groomer’s assistant Tommy Stayton Digital technician Rob Jarvis Production KO Productions ko-collective.co.uk

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THE WORLD’S ONLY SILENT ROCK’n’roll star Lindsay Kemp was limitless. A creative visionary who blurred the boundaries of dance, music, and performance art, his otherworldly vision inspired the avant-pop magic of both David Bowie and Kate Bush. His was a life of bodily pleasures and imaginative possibilities, which, with his death last year, ended too soon. Yet, as his collaborators and fans already know, his teachings are immortal

Text

Charlie Robin Jones

Portrait

Top: Lindsay Kemp with David Bowie, London 1973

Mick RocK

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Lindsay Kemp, London 1974 213

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emp was born in Wirral, Merseyside, the year before WWII broke. He passed away last August. He was a dancer, a choreographer, an actor and a director; and also, somehow, none of them – his talent, his thing, his mojo, irreducible to one easy job title. He called himself, ‘The world’s only silent rock’n’roll star.’ For Kate Bush and David Bowie, he was a teacher and collaborator: the former compared him to Mozart, the latter called him, for a time, boyfriend. He was rejected by the best ballet schools in the land and went on to direct some of their most famous works. Andy Warhol and Truman Capote applauded his staggering piece Flowers when it opened on Broadway. Diana Vreeland, the legendary Vogue editor, raved about his costumes. He had a wonderful dinner with Joan Miró and a weird afternoon with Leni Riefenstahl. His work encompassed mime, ballet, Japanese kabuki, silent-movie acting and Italian commedia dell’arte. He lived out his ﬁnal 35 years on the Mediterranean, but never lost his very British edge. The iconoclastic ﬁlmmakers Derek Jarman and Ken Russell cast him in their movies, and he brought his inimitable presence to student televisions everywhere with a turn in The Wicker Man. He liked a drink, maybe too much, attempted suicide, and left an indelible imprint on 20th-century culture. Lindsay Kemp did nothing less than introduce performance art into British popular culture, injecting ideas from the continental European avant-garde into the body politic of London during its most swinging years. His intellectual touchstones included French writer and street criminal Jean Genet and German dramatist Bertolt Brecht, referencing Antonin Artaud’s Theatre of Cruelty and Jacques Brel’s Belgian songs, alongside Russian filmmaker Andrei 214

Tarkovsky – and that’s just counting the books, movies and records he gave to David Bowie. Drag, stagecraft, popular song and the Dionysian joy of dance were his mediums. As much as he was an avant-gardist in the pop world, he was also populist in the underground, with a love of the extravagant which feels a million miles away from the seriousness and art-speak of much performance art today. His very elusiveness and resistance to categorisation meant that his contributions have stayed somewhat on the margins and lost in the liner notes – especially combined with the inherent structural and technological issues faced by queer underground dance troupes who performed before the era of VHS, let alone YouTube. Yet his bravery, his vitality, his ability to ignore the very existence of rules, his sheer stylishness, have never been more resonant.

e are living in a new world. Boundaries between genres and forms dissolve before our eyes. Performance art is present in pop music like no time since, well, Lindsay Kemp’s heyday. Marina Abramović stars in a video with Jay-Z. The fine artist Vanessa Beecroft stages Kanye West’s fashion presentations. Solange Knowles collaborates with downtown New York choreographers Brennan Gerard and Ryan Kelly, who work as

‘The eyes. The make-up. The mime. These beautiful forms. The craftsmanship of his presence’

Gerard & Kelly. ‘This is what a contemporary artist is today,’ says Kelly. ‘No matter what field you are working in – music, art, movement – the expectation is that you will have a, let’s say, “polyamorous” capacity. That you will have a flexibility of shifting across different media and different fields of distribution and reception. This has a lot to do with the post-internet age. Kemp was working so prolifically in what was still a very analogue time: making performances and translating those ideas so coherently.’ ‘It was my first way into imagining what performance could be,’ says Colin Self, the Berlin-based singer, composer and ‘postdrag’ artist, recalling his first experience of discovering Kemp’s archive dance videos while at university. ‘The eyes. The make-up. The mime. These beautiful forms. The entire craftsmanship of his presence. When you’re watching these videos, there’s a very simple but careful approach to everything that was being done on stage. It was almost a form of hypnotism, to see him on stage just… being.’ Lindsay Kemp was born into a long line of sailors in 1938. In 1940, shortly after his father was killed at sea by Hitler’s U-boats, the small family settled by the docks in South Shields, a gritty maritime suburb at the mouth of the Tyne. Residents are known as sanddancers. Throughout Kemp’s career, the sea and sailors would return again and again as a motif, symbolising death and infinity, ecstasy and abandon. Back in the Forties, in a very British way of treating childhood trauma, the families of those in service of the Crown were given places at elite institutions. So Kemp left his infant school, where he had once been sent home for coming into class wearing a kimono, and

Photo Tim Walker

It all comes down to a look. That’s what it was always about. Of course, Lindsay Kemp knew a grand gesture, and better than most, knew the importance of makeup and costume. But nothing could stand in his way when he cast his eyes over the audience, blood pouring from his mouth, shining in rivulets over his stark, white, powdered chin.

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Lindsay Kemp

Lindsay Kemp shot by Tim Walker for Candy magazine in Livorno, Italy 2015

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was packed off to the Royal Merchant Navy School near Reading. Like many outsiders, he got through his otherwise desperate school years by entertaining his classmates: in his dormitory, he put on productions of A Midsummer Night’s Dream, in which he played every part, and Salomé, which nearly got him expelled for wasting the toilet paper he used to make the costume. This was performance as survival. Dance was long cemented as his goal, though his route into the profession was far from straightforward. Kemp was rejected by the Royal Ballet School and thrown out of London’s other leading academy Ballet Rambert after less than a year. Undaunted, he took on apprenticeship-style one-on-one lessons with a series of dancers from a range of disciplines, performed in the English National Ballet and also had a stint at art school, where he attended classes with David Hockney.

his voice: how the act of vocal performance could inspire a movement, and vice versa. The relationship between the voice and the body is crucial, Ryan Kelly argues: ‘Moving and singing – singing speciﬁcally – are very linked, I think,’ he says. ‘It’s hard to know exactly where one ends and the other starts. I am a dancer, and Solange is a singer, but I was singing in studio as much as she was making moves. They start to blend. The search was to ﬁnd the movement that came from the voice.’

rock singers, then as now. Little footage survives of the concerts, but on YouTube you can glimpse Kemp appearing on stage, playing characters from the songs – during Starman he wore a wig and wings, climbing to the rafters to leer at the audience. Despite, or perhaps because, he never formally graduated, teaching was at the heart of his craft. Kemp did not follow a formal programme. Instead, his focus was on improvisation and becoming: a freeing out, not a keeping in line. ‘Be yourself marvellously!’ he would chant to his students. David Haughton, Kemp’s best friend and collaborator for 45 years, told me about Kemp’s teachings over the phone from Tuscany. ‘He thought that we were all born geniuses, but that our schooling and society kicked it out of us. The point of dancing – which is to say, the point of living – is to unlearn this. The purpose was, as Isadora Duncan [the great early 20th-century dancer] would say, to abandon yourself to the music as a tree abandons itself to the wind.’

t 25, Lindsay set up shop as a teacher at the Dance Centre in Covent Garden. One night, after a performance, he invited a shy teenager called David Bowie backstage, after using one of Bowie’s early songs before emp’s great teaching was the centrality of dance to a performance. Bowie quietly asked every sphere of life. ‘He called for help understanding what he’d witnessed on stage that night, and himself a dancer,’ Haughton says, became one of Kemp’s pupils. Years with a laugh, ‘in the way Bob Dylan called himself a dancer. later, in an interview with German That is to say, that dancing was newspaper Die Zeit, Kemp recalled the experience: ‘It was as if the a way of living every moment, not Archangel Gabriel had come down a discrete practice unto itself.’ We perform gender, we perform from heaven to pay me a visit.’ politics, we perform our jobs. From this meeting came We perform throughout every a relationship that changed rock Lindsay Kemp and David Haughton appearing in his play ‘Flowers’ on 14 July 1975 in London moment of our days. If Lindsay music. At that time, the young singer Kemp has a message, one great was counting lacklustre ﬁrst album teaching, it might be this: let us sales and weighing up becoming a Buddhist monk. After his time at least enjoy it. with Kemp, the David Bowie of myth emerged This blurring between stage and life extended – the lizard-god performer, able to slink across to his personal style. ‘Lindsay was obsessed by a stage and hold an audience in the palm of his clothing all his life, but he made no distinction hand with the slightest of gestures. They became between stage costume and private dressing,’ teacher and apprentice, and, after a short while, says Haughton. ‘The way he dressed all the time lovers. This was Bowie’s education in movement was an extremely personal remixing of Japanese and many of the theatrical arts that defined items, Spanish pieces and wildly unorthodox him – as well as crucial lessons in make-up. things that caught his eye in some market or whatever. The first time I saw him in the Tellingly, according to Kemp, Bowie had to learn ater, Bowie would ask Kemp to choreograph to dance meticulously, carefully, cerebrally, street in 1972, he had a full-length red and blue and understand the potency of stillness. ‘The the 1972 production of The Rise and Fall patchwork Indian-style coat right down to his simplest movements were difficult for him,’ of Ziggy Stardust and the Spiders from Mars, ankles, a bright yellow silk scarf tied around his Kemp said. ‘If you take Mick Jagger, who has transforming the album into a landmark stage head and thigh-high boots. He loved clothing and show involving hundreds of pounds of dry a natural gift for movement, his body language he had books on costumes through the centuries, ice, a set of sawdust-covered scaffolding and fell into dancing straightaway. Bowie had but [his style] wasn’t keeping up with fashion. a troupe of dancers. Most reviews report the to work it all out the hard way.’ It was a very extravagant mixing of colours and multiple costume changes, a rarity for male He also taught Bowie how to move with cultures, and the ﬂaunting of all of those.’

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‘Dancing was a way of living every moment, not a discrete practice unto itself’

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Lindsay Kemp

Kate Bush and Lindsay Kemp at Black Island Studios, in London in 1993, while filming ‘The Line, The Cross & The Curve’, a film by Kate Bush inspired by her album ‘The Red Shoes’. Bush first enrolled for Kemp’s classes as a teenager after seeing ‘Flowers’

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t the same time as Kemp’s star was rising, a generation of ﬁlmmakers were kicking down the doors of the staid, formal studio system which had controlled moviemaking. This was the age of Bertolucci, Antonioni and Fellini, and the Brits who watched them: Ken Russell, Nicolas Roeg, Derek Jarman. These were baroque, decadent post-modernists who saw cinema as pure creativity, with real-life and fantastical narratives living side by side: history 218

and the urgently contemporary overlapping. It’s no wonder they got on with Kemp. Casanova by Fellini would have featured Kemp had touring commitments not prevented him from making the shoot. Ken Russell cast Kemp in his decadent historical epics The Devils and Savage Messiah. Jarman cast him in his punk early ﬁlms Sebastiane and Jubilee. It might be his turn in Robin Hardy’s The Wicker Man which is the most widely recognisable. The 1973 cult classic, with its story of sexually decadent dancing pagans defeating the sternly Presbyterian officer of the law, had clear resonance with Kemp. In it, he played the landlord who seems so obscenely happy to give away his daughter, and even in naturalistic make-up, Kemp’s eyes carry every scene he’s in. It’s an interesting aspect of English culture that the modernists have often been romantics – it’s no surprise that Kemp loved to decorate his later Italian villas in exquisite William Morris wallpaper.

Kate Bush

orbiting the epicentre of counter-culture, and even as the new romantics were taking his style and running with it, he had decamped from London. First to Barcelona, then to Rome, then to the mountain-top medieval Umbrian village of Todi, where he converted a monastery into a dance school, and ﬁnally to Livorno, a small city on the Tuscan coast. After 15 years of electrifying British culture, he left to do what he had always done: teach. Direct. Perform. Dance. David Haughton says: ‘He was living an incredibly intense gypsy life, living out of one’s suitcases [through most of the Seventies] really. That did shift to a bigger focus to more stationary life [in 1980]. The crescendo of substance abuse and stress, given the tremendous amount of touring and creating, and into the AIDS epidemic, in which he lost of a lot of the company... a lot was changing.’ In Haughton’s eyes, Kemp’s departure from London and decision to distance himself from big cities was not a step out of the limelight per se. Though his interactions with wider style and pop music culture slow down by the end of the Eighties, this was no retirement, but a way to concentrate free from distraction. ‘He created ballets, directed operas, and taught. In moving from Rome to the countryside, inevitably he was distancing himself from other people’s cultural activities. He was getting out of the alcohol and the extremes and made work of tremendous power.’

ythology was a source of liberation for Kemp, as it was for one of his most beloved collaborators, Kate Bush. After seeing Flowers in 1976, a teenage Bush enrolled for classes with him. It was the start of a long partnership. If Bowie at times seemed to downplay the role of Kemp, Bush had no issues communicating the impact of his teaching: ‘I couldn’t believe how strongly Lindsay communicates with people without even opening his mouth. I’d never seen anything like it, I really hadn’t,’ she told Women’s Hour in 1979. ‘And I felt if it was possible to combine that strength of movement with the voice, then maybe it would work, and that’s what I’ve tried to do.’ That year, he worked on Kate Bush’s first, and, until recently, only set of live dates: the Tour Of Life. Her song Moving was written in tribute to him. ‘He opened up my eyes to the meanings of movement,’ she said. ‘He makes you feel so good. If you’ve got two left feet it’s, “you dance like an angel darling”. He fills people up, you’re an empty glass and glug, glug, glug, he’s filled you with Champagne.’ And for her 43-minute-long film, 1993’s expressionistic, sumptuous The Line, The Cross & The Curve, Kemp was the choreographer, teaching her to walk en pointe as a ghost or a character from the silent films he loved so much. By that time, Kemp had long since left London. In 1980, after nearly two decades

is power lives on. For boundary-pushing artists like FKA twigs and Christine and the Queens, singing and dancing are impossible to disentangle. Childish Gambino’s wildly successful 2018 music video This Is America showed the potency of dance itself like nothing in the modern era, as it showed one performer encompassing history, trauma, violence and sex, all within a single, seemingly unbroken motion. It’s impossible not to think of Kemp approving. And his concerns as an artist – performance, movement and the radical power of romance and self-expression – become more crucial by the day. Kemp’s idea that we are always performing has special resonance in an age of near-constant and consent-ambiguous social surveillance. The potential of dance can take on liberatory signiﬁcance. Because for Kemp, life itself was a dance: a constant dance, a dance which you have always known, a dance that is yours alone. The day Kemp died, he was hard at work. He spent the afternoon in his studio in Livorno, working with his group of dancers on new material. They ate together in the evening. He slipped away to his room, and passed on. ‘He looked to Kazuo Ohno, the great Japanese Butoh master whose ﬁnal performance was on his 100th birthday,’ remembers David Haughton. ‘He would say: “I could do that; keep carrying on, till the end.”’

‘He opened up my eyes to the meanings of movement… He ﬁlls people up…’

Photo Guido Harari

Six months after they got together, Bowie abruptly broke up with Kemp. In the aftermath, Kemp slashed his wrists. He joked about it in subsequent interviews, laughing off his heartbroken attempt at suicide and denying its seriousness. Yet it deserves attention. Depression dogged Kemp throughout his life. And while he never went to these extremes again, a pathos marks his work, always just offstage left, a haunting at the edges of the turn and the joke. ‘In some ways I feel a little bit sad that David Bowie ran with Kemp’s ideas, and Lindsay Kemp never got the recognition that David Bowie did,’ says Colin Self. ‘But then that feeling is throughout his work. There is such childlike joy and such melancholy, all at once. Kemp does an amazing job of making you sit with the tragedy and sit with the trauma and sit with the sadness, better than anyone else I can think of. Those silent videos of performances that Lindsay did still haunt me today.’ Nowhere is his work’s unnerving beauty more evident than in his radical staging of Jean Genet’s Our Lady of the Flowers, a production titled Flowers which opened in a derelict factory at 1968’s Edinburgh Festival. In Kemp’s hands, Genet’s tale of Parisian drag queens, pimps and street hoodlums transforms into a story of an angel-like figure that gives solace and grace to the citizens of the criminal underworld that Genet belonged to. It was shocking then, and it would be shocking now – Kemp’s own show notes describe a prologue of ‘prisoners masturbating in solitary islands of light, fantasies burned alive by ecstasy’, with a climax that involves the Kemp-Genet angel ﬁgure enacting a blood-soaked dervish of death. It’s there on YouTube, and even on crackly VHS, ﬁlmed in Rome in 1982, you can feel the energy, the pure, raw theatre, in its most visceral form – desperation and extravagance, violence and beauty turned up to maximum. It was Kemp’s masterpiece, in the most literal sense: this was the work that proved his mastery of form and allowed him inside the inner circle. It came to London’s West End in 1974, then to Broadway. Mick Jagger sent him 100 red roses for its New York opening. Flowers toured Australia, Europe, South America and Japan. Kemp was asked to direct for Ballet Rambert, the august dance company that had so brutally rejected him as a student. Lindsay Kemp had arrived.

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Yann wears blue technical shearling jacket by Lindsay Kemp wearing his costume, also worn by Mick Jagger for the filming of ‘The Rolling Stones Rock’n’Roll Circus’ TV special NORTH66; in 1968, navy padded shot at photographer Guido Harari’s studio in Milan, Italy 1979 reefer jacket with shadow print by MAISON MARGIELA 219

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This page: Amine wears multicoloured oversized cotton blazer by MARNI; navy cotton blazer and black cotton shorts, both by JIL SANDER; white cotton shirt by DRIES VAN NOTEN; black and white leather trainers by DSQUARED2; hat from NATIONAL THEATRE COSTUME HIRE Opposite: Tom wears trompe l’oeil pinstripe wool suit and white knit vest with cotton poplin sleeves, both by ALEXANDER McQUEEN; leather shoes by CROCKETT & JONES; straw hat from NATIONAL THEATRE COSTUME HIRE

Styling Charles Jeffrey

Frappé d’Amour Photography Dexter Lander

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From left: Tom wears, navy shorts by ERNEST W BAKER; boater hat by LOCK & CO HATTERS; patent shoes by CHRISTIAN LOUBOUTIN; tights stylist’s own. Amine wears silver lamé Bermuda shorts by LOUIS GABRIEL NOUCHI; boater hat by LOCK & CO HATTERS; tights stylist’s own

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Tom wears black technical jacket by STONE ISLAND; black wool suit by NINAMOUNAH; blue wool cardigan by ERNEST W BAKER; white cotton shirt by SANKUANZ; red trainers by GIVENCHY. Amine (standing) wears grey wool pinstripe shorts suit, cotton shirt and cotton socks, all by VERSACE

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From left: Tom wears black double-breasted wool jacket and black wool trousers, both by YOHJI YAMAMOTO; black leather shoes by CROCKETT & JONES; hat from COSTUME STUDIO. Amine wears black wool double-flap blazer, black wool overalls and black cotton lace-up T-shirt, all by YOHJI YAMAMOTO; black leather shoes by CROCKETT & JONES; hat from COSTUME STUDIO 225

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Tom wears navy jacquard herringbone suit and check cotton shirt, all by VIVIENNE WESTWOOD; purple silk tie by TURNBULL & ASSER; leather sandals by FENDI; black puffer jacket model’s own 226

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Tom wears black wool collarless suit with falling silver threads by GIVENCHY; white silk shirt and bow tie, both by TURNBULL & ASSER; antique-silver choker with engraved logo by GIVENCHY 227

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Tom wears black and white checked cotton jacket, shirt and shorts, all by MARNI; white stripe cotton shirt and checked tie, both by THOM BROWNE; hat from NATIONAL THEATRE COSTUME HIRE 228

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From left: Amine wears blue stripe cotton T-shirt by STONE ISLAND; grey stripe wool dungarees, straw hat, green wool socks and white and blue leather shoes, all by THOM BROWNE. Tom wears red stripe cotton T-shirt by STONE ISLAND; blue stripe cotton shorts by LOEWE; straw hat, pink wool socks and pink and white leather shoes, all by THOM BROWNE

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Amine wears black wool peak lapel blazer, black flower print silk shirt, black cotton twill Bermuda shorts, metal and fluorite brooch (just seen), black canvas belt with brass buckle and black crocodile Derby shoes with black and white rubber soles, all by DIOR; gold belt by LOUIS GABRIEL NOUCHI; silver and black long socks by LE STUDIO PIERRE; hat from COSTUME STUDIO 230

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Tom wears black wool collarless jacket with falling silver threads by GIVENCHY; white silk shirt and bow tie, both by TURNBULL & ASSER; antique-silver choker with engraved logo by GIVENCHY

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Tom wears suede and shearling military jacket by LOEWE; pink stripe cotton shirt by Y/PROJECT; printed silk shirt and trousers and white cotton hat, all by ANDREAS KRONTHALER FOR VIVIENNE WESTWOOD; purple silk tie by TURNBULL & ASSER; cummerbund by LOUIS GABRIEL NOUCHI; leather belt with gold buckle by CHARLES JEFFREY LOVERBOY; flower jewellery (worn on shoes) and silver ring, both by NEITH NYER; leather boots by ALEXANDER MCQUEEN; black hat from COSTUME STUDIO 232

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Lorna wears men’s black double-breasted twill caban cape, black vinyl trousers and black felt hat, all by MAISON MARGIELA. Tom wears black linen jacket, black cupro shirt and black hemp shorts, all by ANN DEMEULEMEESTER; wool hat by GIORGIO ARMANI Hair stylist Teiji Utsumi at Bryant Artists using Tigi Make-up/body artist Tashi Honnery Models Tom Gaskin at Marilyn, Amine Gouga at AMCK and Lorna Foran at Oui Set designer Christian Feltham Photo assistant Aurelien Nobécourt-Arras Stylist’s assistants Lucy Addy, Ruby Elkins and Sam Thompson Casting director Finlay Macaulay at Establishment NY Hair assistants Kanae Kikuchi and Saori Tan Set designer’s assistant Thomas Desloges Production KO Productions ko-collective.co.uk

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Black technical organza biker blouson with all-over flower print by DIOR

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t Pack look for dige xtreme it took Midwest actor Evan Peters a soul-se cade to hit the big time. limbs with Lad ywo st amer Photography Jackie Nickerson Styling Gary Armstrong Text Eve Barlow

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hat’s eating Evan Peters? In a half-empty Italian diner in East Hollywood, he’s spent most of our interview on a bright January afternoon cracking dry jokes, but there’s something melancholy about his demeanour. The 32-yearold star of TV and film has enjoyed a steady trajectory of roles in some of this decade’s bigger blockbusters and cult series, but without that one watershed moment – yet – to elevate him to Hollywood’s A-list. As an actor his job is to work through emotion. Today, Peters appears to be working through something, as he contemplates his biggest learning arc thus far. But as the bittersweet classic Smile by Nat King Cole travels through the air with its lyrics ‘Smile though your heart is aching,’ he seems on the verge of an existential crisis. ‘I’m gonna cry right now,’ he says with a laugh, roused by a ﬂourish of strings. He seems neither happy, nor sad, but simply uncertain. ‘God, I wonder.’ You may recognise Peters from his work on FX schlock masterpiece American Horror Story, or his role as speedy mutant Quicksilver in the X-Men movies (to be reprised this summer in X-Men: Dark Phoenix), or on the fabulously heartfelt ballroom-scene drama Pose. Perhaps you saw him anchor his biggest feature ﬁlm yet last year as real-life criminal Warren Lipka in heist caper American Animals. His star is still on the rise, and here in this hushed restaurant

‘When I was in Michigan, I would look out west and hope and dream. I wanted to be an actor. Every night I would do it. And here I am. Sort of’ he comes across as ambitious but patient. While breakout peers such as Lucas Hedges and Timothée Chalamet are almost a decade his junior, Peters has been familiarising himself with the lay of Hollywood’s land for half his life, and he’s never been distracted by the city’s seedier underbelly. When his next chance comes, he’s going to be amply equipped to handle it. ‘I don’t know what I’ve learned,’ he concludes after further pontiﬁcating. ‘What is that phrase? “Luck is when preparation meets opportunity?” The business is so unpredictable. A lot of it is luck and you wanna be prepared, but I’ve learned that you can overprepare. You have to throw it up 236

to the gods sometimes and say: “What the hell!” I don’t know what’s gonna happen. I have to go into the unknown and hope for the best.’ He chews on his gum between sips of water. ‘This song is really fucking with me right now.’ The appeal of Peters is that he has just enough charisma to turn your head, but not too much to threaten the everyman dude in the next booth. Reclining in a plain white T-shirt, and a pair of loose jeans, there is nothing arty about him despite his very daring onscreen roles. On his right hand there’s a faded red stamp mark. Where was he last night? ‘Oh, that’s a tattoo,’ he answers, almost rolling his eyes. ‘So embarrassing. I’ve been going to the same party since 2009,’ he jokes. It’s unfortunate-looking; a thumbsup that reminds you of a Facebook like. ‘I don’t know what I was thinking. I gotta get it removed because I constantly get asked: “Where were you last night?”’ He also got a tattoo that says ‘Mom’ the same day but he doesn’t want to get that one removed. Without her he would never have come to Hollywood. When Peters was 15 he moved here. Born in the Midwest city of St Louis, Missouri, he’s the youngest of three. Raised Catholic by his parents but never in a way that debilitated his awareness of pop culture — including video nasties (‘my sister showed me Hellraiser when I was four!’) — they moved to Michigan when Peters was 14. His dad had to relocate for work. He doesn’t have many memories. He was a self-described ‘jerkoff’ in school but ‘wasn’t quite a Mean Girl’. After classes he’d gorge on ﬁlms. ‘The classics!’ he says, with nostalgic enthusiasm. ‘My brother was so sick of The Little Mermaid and Tommy Boy.’ Peters became more serious about acting in Michigan. He worshipped the Disney channel, particularly the Olsen twins on So Little Time and Shia LaBeouf on Even Stevens. ‘I really wanted to be on one of those shows,’ he says. ‘I loved Shia. I loved the Olsen twins. I wanted to work with them, be buddies and be an actor. How the hell was I gonna do that? I went to the Yellow Pages, I went on Ask Jeeves. Do you remember Ask Jeeves?’ He picks up his iPhone. ‘Siri, is Jeeves still there?’ Signing up to a local agency, he started acting classes at the age of 15, got a coach, did the headshot. His audition tape made it to a manager in LA. And so he asked his mother what she thought of trying Hollywood on for size. ‘She was like, “Sure! It’s freezing here, let’s get the hell out!” So we went to California and took it a year at a time. It was a gamble and a whim. It was hard.’ Even now, Peters ﬁnds it difficult to explain the logic behind the decision – because there wasn’t anything remotely logical about it. ‘It’s weird, right?’ he says. ‘This is cheesy but when I was in Michigan, I would look out west and hope and dream. I wanted to be out here, I wanted to be an actor. Every night I would do it. And here I am. Sort of.’

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Pink technical film transparent coat, black nylon jacquard bomber jacket, black flower print silk shirt (just seen), black cotton drill chinos and black stone and metal link bracelets, all by DIOR

Evan Peters

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Black cotton denim over-shirt with KAWS bee embroideries and jewel patches and white flower print silk shirt (just seen), both by DIOR 238

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Evan Peters

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Pink technical film transparent over-shirt, white and silver stripe silkpoplin shirt, black cotton drill chinos, black stoneand-metal link bracelets and ‘Christian Dior’ canvas and brassbuckle belt, all by DIOR 241

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t wasn’t until Peters met idiosyncratic writer/director Ryan Murphy at an audition for American Horror Story that his Hollywood fortune began to change. With Murphy at the helm, Peters has developed a reputation for emotionally and physically extreme performances. American Horror Story, for instance, is Black Mirror for people who love Halloween. In the show Peters has played over a dozen characters, including a mentally disturbed ghost, Charles Manson, a serial killer, Andy Warhol, and a cult leader. The sex scenes he’s filmed have been steamy and grotesque, often at the same time. As Jimmy Darling (aka Lobster Boy), for instance, he pleasures women with his crustacean-shaped freakish claw hands. Murphy cast Peters again for Pose as businessman Stan who cheats on his wife with a transgender sex worker (played by the radiant Indya Moore). Of all the Murphy incarnations Peters has brought to life, none of them neatly check the box of ‘poster boy all-American male’. As a mentor, Murphy is hardly a man who plays it straight either. ‘When I first met Ryan everyone was in suits except for him. He was wearing this amazing outfit – a cool hat, shirt and the most expensive sweatpants you could ever buy. Just fabulous.’ Murphy’s hunger for collaboration combined with a sense of ease made Peters willing to be led by him, especially in unscripted moments. ‘He writes on the spot,’ he says. ‘When we were shooting he’d say, “I have a great idea: let’s put you in the corner and we’re gonna pour blood all over your head.” And I was like, “Amazing!”’ The match for Murphy’s spontaneity on-set is, apparently, Lady Gaga. The superstar was a main character in Season Five, a series set in an art deco Los Angeles hotel, in which Peters played the depraved serial killer Mr James Marsh. ‘I’m sawing apart a dead body, then Lady Gaga walks in and I’m shocked: “Oh no, she’s found me out.”’ he recalls. ‘She walks over, and goes: “Next time, tell me first.” I was like, “This is crazy, what are we doing?” It was surreal. You know what you’re getting into but then you’re there on the day sawing off a leg and it’s bizarre.’ Lady Gaga, of course, is having a major moment in Hollywood right now. ‘My God, is she ever?!’ says Peters, sounding delighted. ‘She’s incredible. Both her and Ryan Murphy have a creative genius. They are so able to create great stuff in the moment. Not crappy ideas. Amazing ideas.’ Working with 242

Gaga was scary for Peters. ‘You never know what she’s gonna do!’ he laughs. Despite all the gory fun, in an interview last summer, Peters sounded as though the thrills of Murphy’s creations were becoming too taxing for his psyche. ‘It’s hurting my soul and Evan as a person,’ he said back then. ‘I’m sick. I don’t feel good.’ Perhaps some of that stemmed from how close to the bone certain storylines were, particularly in American Horror Story. Some of the heaviest lifting came when he played the tyrannical Kai in Season Seven, Cult, which held up a mirror to American society, focusing on a ﬁctionalised aftermath of the 2016 Presidential election. They filmed before the Las Vegas shooting happened in 2017, while gun violence in America continued to escalate as a public concern, and had to delete scenes which were bleakly close to home. ‘Ryan graciously cut down a lot of the public shooting. It was a little intense. I think everyone handled it with gravity and sensitivity,’ he says today. On Pose, too, he’s tapping into a masculine softness that feels subversive, new and also, perhaps, overwhelming. ‘I was excited by the fact

‘You know what you’re getting into but then you’re there on the day sawing off a leg and it’s bizarre’ that anybody who was transgender in the show was going to be played by a real transgender person,’ he recalls of reading the script. ‘I love authenticity and to be able to learn.’ Peters is in the minority on-set as a white cis man. He doesn’t relate to his character Stan at all. Stan is a guiltladen, unfulfilled, run-of-the-mill businessman who’s as much a victim of societal pressure as he is a participant in his own misjudgements. Peters brought his own confusion and neuroses to the portrayal. ‘I’ve been having an existential crisis for 15 years,’ he says. ‘I’m always questioning why things are the way they are. You wake up and go, “Why the hell am I here? Is this really what I wanna be doing?” Stan was having that crisis. He needs to follow his soul, listen to his inner voice, figure out what that is. It’s a confusing thing when you lose touch with your instincts. He’d suppressed who he was for so long that he didn’t know who he was any more.’ When asked if such roles make Peters feel freer or less pressured to portray a type of leading man, he refutes that he ever felt such pressure. ‘I’m trying to figure out what vulnerability is,’ he says. ‘It’s such a crazy feeling that I can’t even describe

it. Playing Stan was hard. Very hard. But it was a learning experience. I take all these roles as learning experiences. I’d hope that nowadays there’s more freedom to explore, tell great stories and play whatever part you want. Now more than ever people shouldn’t be pigeonholed.’ Peters is actually taking a sabbatical at the moment. The negative quotes he gave last summer were likely as a consequence of exhaustion. ‘I think it was a full-on burnout,’ he says. ‘I’m gonna take a break, re-group, decompress, get back in touch with what I feel like I wanna do. Not that I didn’t wanna do any of those roles – they’re exactly what I wanted to do. It was just zero to 100 instantaneously. I wanna play music.’ Peters doesn’t have a band, but he’d like to. When asked what his album of 2018 was, he responds with the 1969 album Green River by the classic Sixties rock band Creedence Clearwater Revival: ‘John Fogerty’s voice… It’s the best thing I’ve ever heard.’ Offscreen, Peters is engaged to Emma Roberts, a fellow actor who’s been circling stardom for a near-decade. In 2013 there was a press fracas after she was arrested for getting into a physical ﬁght with him in a hotel room in Montreal. He didn’t press charges and the couple said it was ‘an unfortunate incident and misunderstanding’. Their Hollywood life sounds suitably less dramatic in 2019. A few nights before we meet, he attended the Golden Globes and sat with ‘the Mrs Maisel bunch’. ‘We had a funny table,’ he says. ‘[Some people] move to LA and get so jaded so quickly: “Golden Globes, whatever”. But I’m there texting my people like, “Hey mom, did you see me?” I’m still geeking out on it.’ By midnight, he was at home with a peanut butter and jelly sandwich watching Ben Stiller’s new series Escape At Dannemora. When asked for Pose Season Two spoilers, Peters claims to be totally in the dark, though Murphy has said it will spotlight the mainstreaming of ballroom culture with Madonna’s Vogue. He’ll be playing the manager and husband of cult Australian singer and activist Helen Reddy in indie biopic I Am Woman. On the other end of the spectrum, he’s excited about his role in the upcoming X-Men movie but insists that he’s just an extraneous piece of the furniture. ‘I’m a little guest spot,’ he says. ‘I’m not part of the A team.’ He’s not resentful though, just calmly awaiting the moment he gets to be in the same sentence as his own heroes. ‘I love to act,’ he says. ‘I wanna be a part of great movies with great directors and make great stories because I fucking love movies and TV. There’s a lot of let-downs.’ ‘At the end of the day it’s worth it,’ he decides. ‘All the getting kicked around, all the “no’s”. He smiles at himself. ‘Am I gonna quote Lady Gaga right now? There are gonna be 99 people in the room and only one…’ he says, laughing at his own joke. ‘But it’s true. It’s worth the 99 people saying fuck you.’ ‘X-Men: Dark Phoenix’ is out on 7 June. ‘Pose’ returns later this year Groomer Eliot McQueen Photographer’s assistant Mat Kay

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Evan Peters

White and silver stripe Lurex and silkpoplin shirt by DIOR; black vest stylist’s own 243

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Black flower print technical organza biker blouson and black cotton drill chino with gold ‘gothic CD’ embroidery, both by DIOR 244

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Evan Peters

Pink technical film transparent coat, black nylon jacquard bomber jacket, black flower print silk shirt (just seen), black stone and metal link bracelets and stuffed ‘Bobby’ key chain with ‘Dior’ necklace, ‘CD’ earring and a resin snap hook, all by DIOR

Groomer Nikki Deroest using R + Co at The Wall Group 1st Photo assistant Sean Michon 2nd Photo assistant Olivia Kooyman Stylist’s assistant Lisa Harlock Digital technician Benjamin Askinas Set design Brittany Porter at LalaLand Artists On-set production Kennedy Carter at Oui Productions Production KO Productions ko-collective.co.uk With thanks to Robin Baum

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Hal wears rust cotton and silk blazer and olive ﬂax polo shirt, both by CORNELIANI; custommade Lycra singlets (worn throughout), by DANIEL W FLETCHER 246

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Josh wears grey and neon Berlin-print wool blazer by HUGO; black Lycra shorts, stylist’s own

Photography Leon Mark Styling Ben Schoﬁeld

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From left: Hal wears, black single-breasted jacket by GIORGIO ARMANI; off-white cotton shirt and beige tweed trousers, both by GUCCI; belt by DANIEL W FLETCHER AW19; trainers by CONVERSE Josh wears heritage tartan basket weave linen suit by GIORGIO ARMANI; white cotton shirt by GUCCI; belt by DANIEL W FLETCHER AW19; off-white canvas trainers by FRED PERRY FOR MARGARET HOWELL

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Hal wears black wool blazer, patterned wool jumper and, black cotton shirt, all by BERLUTI; red Lycra singlet by ADIDAS 249

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Hal wears chocolate high-tech light fabric coat, and chocolate heavy tech gabardine trousers, both by BOTTEGA VENETA; trainers by CONVERSE

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Josh wears short-sleeved crystal clear cotton shirt and charcoal wide-leg pleated trousers, both by SALVATORE FERRAGAMO; off-white canvas trainers by FRED PERRY FOR MARGARET HOWELL

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From left: Josh wears charcoal oversized pinstripe wool blazer by MARGARET HOWELL; Lycra singlet from COSTUME STUDIO; black Japanese twill trousers by KIKO KOSTADINOV; off-white canvas trainers by FRED PERRY FOR MARGARET HOWELL Hal wears off-black wool summer blazer by MARGARET HOWELL; white cotton Henley shirt by SUNSPEL; cream socks by FALKE; canvas trainers by LANVIN

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Josh wears tan crocodile trench coat by BILLIONAIRE; white collarless oversized cotton poplin shirt by MARGARET HOWELL; brown socks by FALKE; off-white canvas and leather trainers by LACOSTE

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From left: Josh wears blue and ivory wool V-neck jumper by GUCCI; white cotton polo shirt by SUNSPEL Hal wears green wool V-neck jumper by GUCCI; white cotton Henley shirt by SUNSPEL

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Hal wears off-white cotton suit and blue asymmetric striped shirt, both by WOOYOUNGMI; belt by DANIEL W FLETCHER AW19; trainers by CONVERSE

Hair stylist Takuya Uchiyama using Bumble & Bumble Models Hal Haines @ Nevs Josh Winstanley @ The Squad Movement director Ryan Chappell @ The Magnet Agency Photo assistant Alessandro Tranchini Stylist’s assistant Lauren Perrin Groomer assistant Tomoaki Usui Casting Caitlin Prosser Set designer Jacki Castelli at Lalaland Artists Digital technician Luke Bennett Production KO Productions ko-collective.co.uk Location JJ Media Group – East Studio

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A Spike Jonze production can give you whiplash, bend your mind to breaking point, or straight-up defy the laws of physics. From scrappy shorts to epoch-deﬁning music videos and Oscar-winning features, the cinematic auteur’s work is alive with all the brightly-bleeding weirdness of the world. It might even make you want to dance

Text Trey Taylor Portrait Inez & Vinoodh

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is still the coolest director in Hollywood. Having made the jump from directing scuzzy skateboarding films to lo-fi music videos in the early Nineties, the 49-yearold graduated to professional prankster as co-creator of MTV’s Jackass, and directed emo AI prophecy Her all the way to an Oscar win. Jonze’s signature style – an imaginative mesh of punk aesthetics with freewheeling whimsy – has cemented his status as a pioneering Hollywood outlaw.

Jonze with Johnny Knoxville, Jeff Tremaine, Ehren McGhehey at the premiere of ‘Jackass 3D’, New York 2010

GQ Style: Who gave you your first camera? Spike Jonze: My mom had an Olympus OM-10 with a 50mm lens. I loved playing with it. I had a photo class in high school with a photography teacher named Mr Stallings. He was a Vietnam vet and he’d just talk to us and treat us like adults. GQS: What did he teach you that was so mindblowing? SJ: He taught us the very basics, but mostly he just gave us a lot of freedom. He had a little bit of non-conformity in him and encouraged that in us. He’d let us wander around the campus and shoot whatever we wanted. GQS: How did you end up working for the magazine ‘Freestylin’’? SJ: I wrote an article for them in high school and then I started writing more. I was worried that I had to go to college and think about being an adult, and that’s super stressful. So my senior year, I was thinking ‘I gotta go to college’ and I applied to a bunch of colleges, and I got into [New York art school] Pratt. I lucked out because I really didn’t want to go. And right around that same time, Andy [Jenkins] and Michael Lewman, they offered me this job as an assistant editor at the magazine after high school. I moved out there the day after finals. GQS: What was the appeal of photography to you? SJ: I loved just making things. I loved writing short stories. I’m taking photos and making little skits with my friends. If somebody had a video camera, we’d make a little skit. But [with] photos, specifically, I liked putting a feeling into a frame and telling a story. I wouldn’t have said any of this then. I wouldn’t have known that.

‘I loved just making things. I loved writing short stories. I’m taking photos and making little skits with my friends’ 258

Photos Everett/Photoshot

he cinematic multi-hyphenate, born Adam Spiegel and later nicknamed Spike for a piece of hair that stood on end, initially only had dreams of filming his friends doing BMX and skateboard tricks when he moved out to California the day after his high school exams. There, he wrote for and contributed photos to the adrenaline junkie magazine Freestylin’. ‘It was written by riders, for riders, and there was this sort of secret language to it,’ he says fondly. ‘I loved the magazine.’ He soon transitioned into filming and photographing his friends zooming around on their boards, pioneering a dynamic shooting technique by riding alongside a subject with his camera positioned close to the ground. At 22, he was asked by Sonic Youth frontwoman Kim Gordon to shoot the post-punk legends’ 100% video after she saw Jonze’s 20-minute short Video Days, made for the California skate team Blind and widely considered the definitive template for all skate films that followed. It was on that 100% set that he first met the then-budding director Sofia Coppola, to whom he was married for five years. With a handheld camcorder, the director brought his improvised sensibility, perfected while goofing off with pro skater friends, into videos which defined early Nineties MTV2, such as Beastie Boys’ skate-focused Time for Livin’, Dinosaur Jr’s upper-crust satire Feel the Pain and the punk-rock tomfoolery of The Breeders’ Cannonball. Buoyed by a DIY spirit, Jonze has always acted on instinct with the sincere goal of pushing his audiences to their limit, whether that’s going pervasively meta in Being John Malkovich or hitting viewers with a mindnumbing kick in the nuts in Jackass. ‘I just try to be open,’ he says of his creative approach, ‘to know what the feeling is – that feeling leads you to the right decision, if you’re listening to it.’ For Jonze, it has led to many inspired choices, all made brilliantly off the cuff.

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5 6

Jonze’s greatest hits: 1.‘Video Days’ for Blind Skateboards (1991) 2.‘100%’ by Sonic Youth (1992) 3.‘Cannonball’ by the Breeders (1994) 4.‘Praise You’ by Fatboy Slim (1998) 5.‘It’s All So Quiet’ by Björk (1995) 6.‘Weapon of Choice’ by Fatboy Slim (2000) 7.‘Feel the Pain’ by Dinosaur Jr. (1994) 8.‘Sabotage’ by Beastie Boys 9.‘Otis’ by Jay-Z and Kanye West (2011) 259

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onze’s career has been defined by oddball choices. There’s a gleeful sense of wonder to the filmmaker’s unlikely pairings, whether that’s teaming Daft Punk with a lonely anthropomorphic dog in the video for their rave anthem Da Funk, or Yeah Yeah Yeahs’ fiery frontwoman Karen O with an untrained children’s choir for the soundtrack of Where The Wild Things Are. The same unorthodox approach extends to his casting: rom-com queen Cameron Diaz in an Oscar-worthy role. Joaquin Phoenix in a rare romantic lead. Christopher Walken performing a hipthrusting dad boogie in a hotel lobby. Jonze first brought his gonzo approach to a series of music videos that catapulted him into the mainstream as a DIY autocrat. Early acclaim came when he parodied Seventies buddy cop dramas such as Starsky and Hutch in Beastie Boys’ 1994 Sabotage video. In others, he railed against corporate convention with imaginative visuals that had often little to do with the music. Instead of the palatable instudio setups that dominated Eighties pop videos, musicians were barrelling down the street with a flashdance mob (Björk’s It’s Oh So Quiet) or performing for a wholesome Fifties diner crowd (Weezer’s Buddy Holly). That caution-to-the-wind risk-taking quickly became his calling card for a series of venerable collaborators who wanted a piece of his genius. He’s also directed his one-time cousin-in-law Nicolas Cage to critical acclaim in the meta masterpiece Adaptation and orchestrated an experience of what the New York Times dubbed ‘grand scale intimacy’ for Frank Ocean’s Blonded tour. Ocean performed to thousands while wearing noise-cancelling headphones as Jonze’s camera crew magnified that intimacy on massive screens. ‘It’s fun doing things with friends and having friends around, for sure,’ he says, ‘but it’s also fun just letting grow whatever’s supposed to grow and not doing it a certain way because you’re supposed to do it a certain way. It’s whatever way is right for that feeling.’ GQS: Can you tell me about working on the Beastie Boys’ ‘Sabotage’ video? Whose idea was it to send up Seventies cop dramas? SJ: They needed some stills photography for their publicity when their record came out. I was 23 or 24 and it was the first time I could grow a moustache, and so I grew a moustache and showed up dressed like I was in the Seventies. I had my hair all blow dried. And those guys were like, ‘What the fuck are you doing?!’ And they’re like, ‘Let’s dress up like cops.’ We did photos of them as cops and we had so much fun, we all went to this wig shop in [LA’s] Silver Lake and we just bought all these wigs and moustaches and [Adam] Yauch said we should make a video out of this. 260

Then I went off and wrote a treatment and thought it would be cool if it was the opening credits to a TV show – and the song was just the theme song for the credits. There wouldn’t be any band performance, it would be less of a music video and more of a Seventies cop show. GQS: I read that you told Nicolas Cage to ‘ignore all of his acting instincts’ to play Charlie Kaufman when you were working together on ‘Adaptation’, which eventually led to his second Best Actor Oscar. What did you mean by that? SJ: When I first met him to talk about the script, I asked him what his working process is. He said to me, ‘I have my process, but that doesn’t interest me. I do it all the time. I want to just throw that away and do whatever your process is.’ So I think his process was seeing if he could stretch things from the outside. He’ll see a code or hear a line in his head, or a physical

‘A lot of things come out of that spirit of riffing and brainstorming with somebody you admire and talking each other up’

xpect a Spike Jonze production to ramp up your perspiration rate. The physicality of his subjects can be fluid then stilted, excitable and explosive, accelerating his narratives with what has become a Jonze signature: dance. His trademark is the unexpected busting of a move by a male character: John Malkovich’s postcoitus dance of despair in Being John Malkovich (1999); Christopher Walken in the Weapon of Choice video; Theodore boogieing in Her (2013). His music video for Fatboy Slim’s Praise You, in which Jonze performed the absurd moves of his alter ego, Richard Koufey, won him a MTV Video Music Award for Best Choreography in 1999. In 2017, he directed a Pina Bauschlike experimental theatre piece starring the actors Mia Wasikowska and Lakeith Stanfield called Changers for the fashion brand Opening Ceremony. ‘I like when Spike [Jonze] grabs a hold of stuff because he’s done some really wonderful things, particularly with [Opening Ceremony’s creative directors Humberto Leon and Carol Lim], that are just great,’ Whoopi Goldberg told me in 2017. ‘Great dancers can tell every story, because fluidity of motion is everything.’ Jonze’s work, even at its most digestible, is often about the sheer pleasure of being alive, of having a body that moves through the world. To witness his characters come to life on stage or on screen is to see life through Jonze’s lens – and grab it by the balls.

gesture, and he’ll trust his instincts if that means something to him. When he puts these together, what they construct is the character. So I asked him to work the other way – from the inside out as opposed to the outside in. At one point he said, ‘I’m just giving you a remote control, this is my remote control.’ He decided not to focus on what felt right to him [and] to be a conduit to what felt right or wrong to me. I’d never had an actor work that way before. GQS: Is it different with musicians or dancers? How do you come up with your ideas when you’re working with someone like Frank Ocean? SJ: A lot of things come out of that spirit of riffing and brainstorming with somebody you admire and talking each other up. That’s what we did when Frank Ocean came out and did a tour. A lot of those ideas were just [born] out of conversations about what we wanted the show to feel like and look like. Frank works more by ‘this feels right’ and ‘that feels right’. We set up a few words [outlining] our intentions. So I’d write ‘something epic and really intimate at the same time’, and that became the goal to challenge us. Could you make a show at a festival both epic and really intimate?

GQS: Why are you fascinated by people breaking into dance randomly? SJ: I just love it. I think me and my friends have always gone dancing, had dance parties. It also relates to skateboarding in a way. It’s super physical and expressive. And filming it is super fun, similar to filming skateboarding. With skating and dance there’s one place that is the correct spot for that trick or that section of dance. And suddenly the camera and the performer lock into one thing. The way they move together is super satisfying. It’s almost like putting a Lego brick in the exact right spot where it just fits right together. GQS: And the camera’s got to dance, too, to capture the moment. SJ: Yeah, for sure. It has to dance or it has to not dance, depending on what is best for the performance. GQS: Would you say that you’ve become more interested in crafting experiences through your work? SJ: I don’t know about more, but certainly it’s part of it. The thing that is consistent is I start with a feeling that’s inside of me, that I can taste. The challenge and excitement and adrenaline is trying to get that feeling out. Even in something like Jackass, I know that came out of a group of friends and that came out of all of the ridiculousness and the grossness

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Spike Jonze

John Malkovich and John Malkovich in Jonze’s feature-length directorial debut, ‘Being John Malkovich’ (1999)

and the scariness of somebody getting hurt or changing all those qualities. But it always had to be us having fun, a group of friends having fun with a camera, and that was how we grew up, making skate videos. And we were the ﬁrst generation with a camcorder and that was the feeling I wanted to always have. From when we ﬁrst did the TV show to when we did the last movie, it had to have that vibe. GQS: How do you know you’ve succeeded in ‘getting that feeling out’? SJ: It’s a complicated medium, but it’s not a solo [effort]. It’s not like a painter who can just sit and it comes right out of them. You’re having to go through this very complex process that requires budgets and schedules and many different departments. [Through] all of these pieces of the process, you have to close your eyes and concentrate on exactly what that feeling is and make that your North Star. That’s the thing I want to get to. GQS: How do you know when you’ve reached that feeling? SJ: On the set when you’re shooting an actor, you can feel it. As I’m going through the day and I get to some moment, like, oh, that’s it, I just felt it. And every time I feel it, the weight gets less and less. And by the end of the day, you can just feel the weight coming off you. It’s doing takes

‘Genius is when you put together two things that don’t seem like they go’ and shaping it and sculpting it to the place where it feels like you’re pulling all the colours out. GQS: Who is your biggest inspiration? SJ: Mark Gonzales, a skater and an artist. He is probably one of the most inﬂuential skaters in terms of skateboarding and the evolution of tricks but also the culture. You know, he drew on his shoes, he drew on his skateboard, he made memes. He listened to all kinds of different music. He’d listen to Minutemen or he’d listen to John Coltrane, or Sade or NWA. He inspired me in terms of thinking abstractly and putting together things that you wouldn’t think go together. Somebody told me once the deﬁnition of genius is when you put together two things that don’t seem like they go together but when you put them together, they seem like they were inevitably supposed to go together. A lot of people that I really look up to have that quality: Mark Gonzales or Charlie Kaufman or Miranda July.

GQS: A lot of the things you’ve done seem to be a result of what you’ve accomplished just before. You came from the skate world into the music world, and then into the ﬁlm world, and in all of these things you draw from whatever you were doing previously. Was that ever something you were acutely aware of? SJ: No, I don’t think so. As I got older, I got into things that really required a lot of pre-production and planning and you’d have a plan, but it wouldn’t be intellectual. I think there would always be something in me that I had wanted to represent a feeling. Like with that Blind video, I wanted to represent what it was like to be around Mark. Mark is kind of unexplainable and larger than life to me and I wanted to make sure that the video didn’t show too much. GQS: Have you ever in your career thought, ‘Whoa, I never thought I’d make it this far?’ SJ: Yeah, every day. Every day. The Blind video, Mark Gonzales asked me to make a video. I was like, ‘Whoa, I love Mark Gonzales.’ That was the ﬁrst thing. And then me and friends started Yannmy wears blue technical to make a magazine from dirt shearling and everything. jacket by NORTH66; navy A publisher gave us money to startpadded this reefer jacket with shadow magazine, I couldn’t believe it. So every and print by turn MAISON every new road and path… Yeah, I feelMARGIELA that. 261

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the beautiful people

Photography Sharif Hamza Styling Elgar Johnson 262

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This page: Dom wears black wool straight collar Spencer jacket and black palace collar leather shirt, both by CELINE; necklace model’s own Opposite: Keone wears blue Western denim shirt and blue denim jeans, both by CALVIN KLEIN JEANS; white cotton T-shirt by LOUIS VUITTON

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Rory wears coral reverse cotton T-shirt by MARTINE ROSE

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Omari wears black stripe blouson leather jacket and black jersey trousers, both by FENDI; green mercerised cotton T-shirt by LANVIN 265

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Emmanuel wears blue stripe cotton shirt by DSQUARED2; bracelet model’s own

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Abolaji wears beige double-breasted wool blazer and beige wideleg wool trousers, both by LOUIS VUITTON; red and white T-shirt stylist’s own

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Anton wears light blue short-sleeve wool T-shirt by PRINGLE OF SCOTLAND

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Rory wears black zipped technical calfskin sweatshirt with basalt print and black basalt technical leather jogging trousers, both by HERMÈS; multicoloured stripe polo shirt by PRINGLE OF SCOTLAND 269

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Dom wears black straight collar wool Spencer jacket, black palace collar leather shirt and black mohair wool trousers, all by CELINE; necklace model’s own 270

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Abolaji wears beige double-breasted wool blazer and beige wideleg wool trousers, both by LOUIS VUITTON; red and white T-shirt stylist’s own

271

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Chris wears red and white stripe cotton polo shirt by FARAH; light blue Red Tab denim jeans by LEVI’S 272

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Georgie wears black sleeveless wool jacket with snap fasteners and off-white and beige wide collar silk shirt, both by LANVIN

273

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Yann wears two-tone quilted parka and calfskin sky boots by HERMÈS; beige slim chinos by WOOLRICH 274

Isaac wears black and grey wool jumper and white printed cotton shirt, both by BERLUTI

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Dom wears grey and taupe linen, cotton and silk check over-the-head bomber jacket and grey and taupe linen, cotton and silk check trousers and leather sandals, all by ERMENEGILDO ZEGNA COUTURE

Groomer Eliot McQueen at JAQ Management using L’Oréal Professional Techni Art and Kiehls Models Keone at D1, Rory at D1, Anton at AMCK, Abolaji at Anti Agency, Dom at AMCK, Omari at Premier, Emmanuel at Next, Chris at Brother, Georgie at Brother, and Isaac at Brother Photo assistants David Mannion and Alberto Gualtieri Stylist’s assistant Lauren Perrin Hair assistant Anni Rademacher Digital technician George Eyres Production by KO Productions ko-collective.co.uk

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I AM YOUR MIRROR DOCUMENTED BY STEVEN MEISEL GIVENCHY.COM

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